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in general. He is of opinion that it is produced by a certain relax- 

 ation of the frame, and reafons very ingenioufly in fupport of 

 this theory from the nature and conftitution of thufe objects 

 that communicate pleafure. " Beauty (fays this ingenious writer) 

 " ails, by relaxing the folids of the whole fyftem. There are all 

 " the appearances of fuch a relaxation ; a relaxation fome- 

 " what below the natural tone feems to me to be the caufe of 

 " all pofitive pleafure *." 



Now, to apply this principle to the phyjical caiije, or animal 

 mechanifm of laughter. The flight blemilhes, imperfedions or 

 mifchances, the fmall deviations from order, fymmetry and deco- 

 rum, that are the fubjeds of ridicule^ and excite pleafure through 

 the medium of contempt, refting in qualities, adions or things in 

 themfelves light and trivial (they could not elfe be the objeds of 

 contempt) have fmall momentum^ cither with rcfped to individual 

 prefervation or facial happinefs^ and of courfe excite no very vio- 

 lent emotion of the mind: While the ftrongcr paffions, love, fear 

 and anger, wake, and range abroad, to guard the exiilence of 

 man, to continue his fpecies, or conned him in leagues of civil 

 ■union ; the lighter feehngs, like mirth for inftance, enliven and 

 embellifh familiar intercourfe with fportive charms and fugi- 

 tive graces ; or polilTi and corred it with minute decencies and 

 mutual obfervances. Where the mind is but flightly affeded, 

 no great degree of relaxation is induced. The due fecretion of 

 the humours is but little difturbed, and no very violent accefs of 

 animal Jpirits is thrown on the breaft, far lefs than is requifitc 



* Eflay on Sublime, p. 163, § on the phyfical caufe of love. 



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