74 PSYCHOLOGY. 



the later Christian martyrs. The term grandeur, literally signifies 

 greatness ; but it often implies the idea of sublimity. 



Beauty, is that property, by which objects attract and please the 

 mind ; exciting a gentle emotion. It was originally applied to form, 

 texture, and color, or objects of sight: but afterwards extended to 

 graceful motion ; and also to Moral Beauty, arising from benevolent, 

 affectionate, or devoted conduct. Some writers consider uniformity, 

 amidst variety, as the essence of beauty; and Hogarth resolves beauty 

 of form, or motion, into the undulating or waving line, which he 

 termed the curve of beauty. The curling of smoke, the bending of 

 tall grass in the breeze, and the mazy figures of the dance, are 

 instances of beautiful motion ; and the friendship of Damon and Py- 

 thias is a striking example of the beautiful in morals. Gracefulness, 

 we consider allied to beauty, as dignity is to sublimity ; the highest 

 degree of both belonging only to the pure and the noble, in heart and 

 in conduct. 



Congruity, or suitableness of parts, and conformity of design, is 

 also a source of beauty ; but so far distinct, we think, as to deserve a 

 separate consideration. The same may be said of Imitation, or the 

 forming of resemblances to some object or production ; an exercise 

 which is a fertile source of pleasure. Novelty, as a source of intel- 

 lectual enjoyment, comes also within the precincts of taste ; and if it 

 violate no principle, while enlarging the boundaries of art, it is doubt- 

 less a positive merit. Wit belongs chiefly to isolated ideas, when 

 they surprise or amuse us, by some unanticipated resemblance or con- 

 trast : and humor, is the same quality, more gently and equably de- 

 veloped. Ridicule, is the application of wit, to objects of censure 

 and satire; an application which is sometimes useful, but often 

 abused. 



4. The Objects of Composition, are to amuse, inform, instruct, 

 convince, or persuade the reader or hearer. All the peculiarities of 

 poetical, romantic, epistolary, historical, philosophical, or oratorical 

 composition, respectively, may therefore be discussed under this 

 topic. 



Amusement, is the lightest object of composition ; though the 

 chief one of many poets and novelists ; who aim to select attractive, or 

 diverting subjects, and to treat them in an easy and elegant style. It 

 is not unworthy of the attention of the wise and the good, in order to 

 render their works more popular ; but they will avoid recourse to any 

 themes, or thoughts, which might corrupt, or mislead their readers or 

 hearers. Information, is a somewhat graver object, and one which 

 belongs especially to the historian ; though often applied also in works 

 of fiction. The narrative form of composition employed for this 

 purpose, requires a perspicuous style ; which is still farther improved 

 by energy and elegance. The didactic form differs from narration, in 

 being addressed to the reasoning, as well as to the perceptive powers ; 

 and combining arguments, with facts. Didactic composition, while 

 it is equally perspicuous, should be more energetic, than that which 

 is merely descriptive. 



Conviction, is a still higher and more difficult object ; as it aims to 



