THE LANDSCAPE BEAUTIFUL 



the muscular and nervous tensions — ^which 

 accompany the enjoyment of any effective 

 work of art. Though these tensions are 

 evidently less various than those induced 

 by a complicated drama or symphony, they 

 are of the same kind, and they often make 

 up in intensity what they lack in variety. 



When one stands at a favorable view- 

 point and looks out over a far-reaching 

 landscape, he may easily convince himself 

 of the pleasurable feeling of distance which 

 grows up in his own body. As his eye goes 

 out, from point to point, seeking ever a 

 greater distance, he feels within himself 

 also the tension of reaching forward. 

 Often the whole body itself is unconsciously 

 thrown forward, and one feels an impulse 

 to extend the arms, as though one would 

 reach out and either clasp the whole land- 

 scape physically into one's hands or else 

 be projected bodily into it. Was it Addison 

 who said that the far outlook on the land- 

 scape is the symbol of freedom? This 

 feeling of distance is extremely powerful. 

 It constitutes one of the most profound 

 stimulations (or tensions) of which the 

 body is capable, yet always within limits 

 which are pleasurable. The feeling is 



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