| It is evident the former impression is not always vicious, nor the latter virtuous. |
| The most rigid morality allows us to receive a pleasure from reflecting on a generous action; and it is by none esteemed a virtue to feel any fruitless remorses upon the thoughts of past villainy and baseness. |
| Let us, therefore, examine these impressions, considered in themselves; and enquire into their causes, whether placed on the mind or body, without troubling ourselves at present with that merit or blame, which may attend them. |
| SECT. VIII OF BEAUTY AND DEFORMITY |
| Whether we consider the body as a part of ourselves, or assent to those philosophers, who regard it as something external, it must still be allowed to be near enough connected with us to form one of these double relations, which I have asserted to be necessary to the causes of pride and humility. |
| Wherever, therefore, we can find the other relation of impressions to join to this of ideas, we may expect with assurance either of these passions, according as the impression is pleasant or uneasy. |
| But beauty of all kinds gives us a peculiar delight and satisfaction; as deformity produces pain, upon whatever subject it may be placed, and whether surveyed in an animate or inanimate object. |
| If the beauty or deformity, therefore, be placed upon our own bodies, this pleasure or uneasiness must be converted into pride or humility, as having in this case all the circumstances requisite to produce a perfect transition of impressions and ideas. |
| These opposite sensations are related to the opposite passions. |
| The beauty or deformity is closely related to self, the object of both these passions. |
| No wonder, then our own beauty becomes an object of pride, and deformity of humility. |
| But this effect of personal and bodily qualities is not only a proof of. |
| the present system, by shewing that the passions arise not in this case without all the circumstances I have required, but may be employed as a stronger and more convincing argument. |
| If we consider all the hypotheses, which have been formed either by philosophy or common reason, to explain the difference betwixt beauty and deformity, we shall find that all of them resolve into this, that beauty is such an order and construction of parts, as either by the primary constitution of our nature, by custom, or by caprice, is fitted to give a pleasure and satisfaction to the soul. |
| This is the distinguishing character of beauty, and forms all the difference betwixt it and deformity, whose natural tendency is to produce uneasiness. |
| Pleasure and pain, therefore, are not only necessary attendants of beauty and deformity, but constitute their very essence. |
| And indeed, if we consider, that a great part of the beauty, which we admire either in animals or in other objects, is derived from the idea of convenience and utility, we shall make no scruple to assent to this opinion. |
| That shape, which produces strength, is beautiful in one animal; and that which is a sign of agility in another. |
| The order and convenience of a palace are no less essential to its beauty, than its mere figure and appearance. |
| In like manner the rules of architecture require, that the top of a pillar should be more slender than its base, and that because such a figure conveys to us the idea of security, which is pleasant; whereas the contrary form gives us the apprehension of danger, which is uneasy. |
| From innumerable instances of this kind, as well as from considering that beauty like wit, cannot be defined, but is discerned only by a taste or sensation, we may conclude, that beauty is nothing but a form, which produces pleasure, as deformity is a structure of parts, which conveys pain; and since the power of producing pain and pleasure make in this manner the essence of beauty and deformity, all the effects of these qualities must be derived from the sensation; and among the rest pride and humility, which of all their effects are the most common and remarkable. |