Elements of Criticism, Volume I. :: CHAP. V. Motion and Force.

CHAP. V. Motion and Force.

THat motion is agreeable to the eye without relation to purpose or design, may appear from the amusement it gives to infants. Juvenile exercises are relished chiefly upon that account.

If to see a body in motion be agreeable, one will be apt to conclude, that to see it at rest is disagreeable. But we learn from experience, that this would be a rash conclusion. Rest is one of those circumstances that are neither agreeable nor disagreeable. It is viewed with perfect indifferency. And happy it is for mankind that the matter is so ordered. If rest were agreeable, it would disincline us to motion, by which all things are performed. If it were disagreeable, it would be a source of perpetual uneasiness; for the bulk of the things we see appear to be at rest. A similar instance of designing wisdom I have had occasion to explain, in opposing grandeur to littleness, and elevation to lowness of place[69]. Even in the simplest matters, the finger of God is conspicuous. The happy adjustment of the internal nature of man to his external circumstances, displayed in the instances here given, is indeed admirable.

Motion is certainly agreeable in all its varieties of quickness and slowness. But motion long continued admits some exceptions. That degree of continued motion which corresponds to the natural course of our perceptions, is the most agreeable[70]. The quickest motion is for an instant delightful. But it soon appears to be too rapid. It becomes painful, by forcibly accelerating the course of our perceptions. Slow continued motion becomes disagreeable for an opposite reason, that it retards the natural course of our perceptions.

There are other varieties in motion, beside quickness and slowness, that make it more or less agreeable. Regular motion is preferred before what is irregular, witness the motion of the planets in orbits nearly circular. The motion of the comets in orbits less regular, is less agreeable.

Motion uniformly accelerated, resembling an ascending series of numbers, is more agreeable than when uniformly retarded. Motion upward is agreeable by the elevation of the moving body. What then shall we say of downward motion regularly accelerated by the force of gravity, compared with upward motion regularly retarded by the same force? Which of these is the most agreeable? This question is not easily solved.

Motion in a straight line is no doubt agreeable. But we prefer undulating motion, as of waves, of a flame, of a ship under sail. Such motion is more free, and also more natural. Hence the beauty of a serpentine river.

The easy and sliding motion of fluids, from the lubricity and incoherence of their parts, is agreeable upon that account. But the agreeableness chiefly depends upon the following circumstance, that the motion is perceived, not as of one body, but as of an endless number moving together with order and regularity. Poets struck with this beauty, draw more images from fluids than from solids.

Force is of two kinds; one quiescent, and one exerted by motion. The former, dead weight for example, must be laid aside; for a body at rest is not by that circumstance either agreeable or disagreeable. Moving force only belongs to the present subject; and though it is not separable from motion, yet by the power of abstraction, either of them may be considered independent of the other. Both of them are agreeable, because both of them include activity. It is agreeable to see a thing move: to see it moved, as when it is dragged or pushed along, is neither agreeable nor disagreeable, more than when at rest. It is agreeable to see a thing exert force; but it makes not the thing either agreeable or disagreeable, to see force exerted upon it.

Though motion and force are each of them agreeable, the impressions they make are different. This difference, clearly felt, is not easily described. All we can say is, that the emotion raised by a moving body, resembles its cause: it feels as if the mind were carried along. The emotion raised by force exerted, resembles also its cause: it feels as if force were exerted within the mind.

To illustrate this difference, I give the following examples. It has been explained why smoke ascending in a calm day, suppose from a cottage in a wood, is an agreeable object[71]. Landscape-painters are fond of this object, and introduce it upon all occasions. As the ascent is natural and without effort, it is delightful in a calm state of mind. It makes an impression of the same sort with that of a gently-flowing river, but more agreeable, because ascent is more to our taste than descent. A fire-work or a jet d’eau rouses the mind more; because the beauty of force visibly exerted, is superadded to that of upward motion. To a man reclining indolently upon a bank of flowers, ascending smoke in a still morning is delightful. But a fire-work or a jet d’eau rouses him from this supine posture, and puts him in motion.

A jet d’eau makes an impression distinguishable from that of a water-fall. Downward motion being natural and without effort, tends rather to quiet the mind than to rouse it. Upward motion, on the contrary, overcoming the resistance of gravity, makes an impression of a great effort, and thereby rouses and enlivens the mind.

The public games of the Greeks and Romans, which gave so much entertainment to the spectators, consisted chiefly in exerting force, wrestling, leaping, throwing great stones, and such like trials of strength. When great force is exerted, the effort felt within the mind produces great life and vivacity. The effort may be such, as in some measure to overpower the mind. Thus the explosion of gun-powder, the violence of a torrent, the weight of a mountain, and the crush of an earthquake, create astonishment rather than pleasure.

No quality nor circumstance contributes more to grandeur than force, especially as exerted by sensible beings. I cannot make this more evident than by the following citations.

—————— Him the almighty power
Hurl’d headlong flaming from th’ ethereal sky,
With hideous ruin and combustion, down
To bottomless perdition, there to dwell
In adamantine chains and penal fire,
Who durst defy th’ Omnipotent to arms.
Paradise Lost, book 1.

—————— Now storming fury rose,
And clamour such as heard in heaven till now
Was never; arms on armour clashing bray’d
Horrible discord, and the madding wheels
Of brazen chariots rag’d; dire was the noise
Of conflict; over head the dismal hiss
Of fiery darts in flaming vollies flew,
And flying vaulted either host with fire.
So under fiery cope together rush’d
Both battles main, with ruinous assault
And inextinguishable rage: all heav’n
Resounded; and had earth been then, all earth
Had to her centre shook.
Ibid, book 6.

They ended parle, and both address’d for fight
Unspeakable; for who, though with the tongue
Of angels, can relate, or to what things
Liken on earth conspicuous, that may lift
Human imagination to such height
Of godlike pow’r? for likest gods they seem’d,
Stood they or mov’d, in stature, motion, arms,
Fit to decide the empire of great Heav’n.
Now wav’d their fiery swords, and in the air
Made horrid circles: two broad suns their shields
Blaz’d opposite, while Expectation stood
In horror: from each hand with speed retir’d,
Where erst was thickest fight, th’ angelic throng,
And left large field, unsafe within the wind
Of such commotion; such as, to set forth
Great things by small, if Nature’s concord broke,
Among the constellations war were sprung,
Two planets, rushing from aspÉct malign
Of fiercest opposition, in mid sky,
Should combat, and their jarring spheres confound.
Ibid, book 6.

We shall now consider the effect of motion and force in conjunction. In contemplating the planetary system, what strikes us the most, is the spherical figures of the planets and their regular motions. The conception we have of their activity and enormous bulk is more obscure. The beauty accordingly of this system, raises a more lively emotion than its grandeur. But if we could imagine ourselves spectators comprehending the whole system at one view, the activity and irresistible force of these immense bodies would fill us with amazement. Nature cannot furnish another scene so grand.

Motion and force, agreeable in themselves, are also agreeable by their utility when employed as means to accomplish some beneficial end. Hence the superior beauty of some machines, where force and motion concur to perform the work of numberless hands. Hence the beautiful motions, firm and regular, of a horse trained for war. Every single step is the fittest that can be for obtaining the end proposed. But the grace of motion is visible chiefly in man, not only for the reasons mentioned, but also because every gesture is significant. The power however of agreeable motion is not a common talent. Every limb of the human body has a good and a bad, an agreeable and disagreeable action. Some motions are extremely graceful, others are plain and vulgar: some express dignity, others meanness. But the pleasure here, arising not singly from the beauty of motion, but from indicating character and sentiment, belongs to a different chapter[72].

I should conclude with the final cause of the relish we have for motion and force, were it not so evident as to require no explanation. We are placed here in such circumstances as to make industry essential to our well-being; for without industry the plainest necessaries of life are not to be obtained. When our situation therefore in this world requires activity and a constant exertion of motion and force, Providence indulgently provides for our welfare in making these agreeable to us. It would be a blunder in our nature, to make things disagreeable that we depend on for existence; and even to make them indifferent, would tend to make us relax greatly from that degree of activity which is indispensable.

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