other instance may be quoted to illustrate Shakespeare's use of the feminine ending. In I. 1. 165 Horatio says:— So have I heard and do | in part | believe it, The first line is conversational, the two others imaginative without passion, only with a joyful welcome of the calm, bright, healthy dawn after the troubled spectral night; and we have a corresponding change in the rhythm." RESIDUARY QUALITIES. In the foregoing discussion of Strength, Feeling, Humour, and Melody, a wide range of literary effects has been overtaken; their characteristics and conditions having been minutely surveyed. These qualities do not include all literary excellence. Nevertheless, they are so prominent and commanding, as to be rarely absent from any work of artistic pretensions. By them, our pleasurable sensibilities can be less expensively gratified than by any others. we couple with their requirements the Aids to Qualities' generally, we can do little more in the way of prescription or criticism in regard to style. Still, in order to be as complete as possible, we shall now touch upon a few matters that have not been expressly adverted to already. THE SENSE QUALITIES. If The Senses, in their own proper character, are appealed to in works of Art. The Painter, the Sculptor, and the Decorator seek to impart the pleasures of the eye, in the first instance, although they do not stop there. The Poet and the Musician gratify the original sensibility of the ear, while enhancing the value of their work by large drafts on the higher emotions. Under Melody, the agreeable titillation of the ear is studied, so far as the choice and arrangement of words will operate. The direct gratification of the sense of Sight is not possible in the poetic or literary art, as in Painting and similar arts. The poet must work by present ng visible objects in idea, according to his means. This he may do with considerable success. The pleasures of the eye may be recalled by language; and these may prove either pleasures of the sense, or the still greater pleasures of emotion as attached to visible pictures: for example, the pleasure of contem plating personal beauty. Each of the two effects has its own laws. The same applies to Hearing. Melody of language and metrical arrangements make but a small part of the influence of poetry on the ear. As with the eye, the pleasures of hearing can be given in idea, and can have the same double character of pure primary gratification of the sense, and associated emotional pleasures. The effect of music is sometimes reproduced in poetry ideally, but without being remarkably successful. The inferior Senses-Touch, Odour, Taste-have their pleasures, which are not excluded from poetic allusions and descriptive efforts. A soft touch, a fragrant odour, or a delicious taste can be conceived by us, and can add to the charm of the object possessing the quality. Even the pleasures of eating and drinking may, in the ideal presentation, be so far refined by remote suggestion, or euphemistic reference, as to be admitted into the sphere of poetical treatment. When sense pleasures are ideally presented in their purity, or nearly so, the effects are designated as Glitter, Brilliancy, Glare, Sparkle, Lustre, Refulgence, Radiance, Sensuousness. For producing them, the terminology of pure sensation, and its ideas, has to be brought under the control of the descriptive art, as well as under the general conditions of excellence, positive and negative, for every form of Art composition. A somewhat higher class of effects, intermediate between the foregoing and the Quality of Strength, are those designated by the names Gorgeous, Majestic, Glorious, Stately, Dignified, Magnificence, Grandeur. In all these, there is a certain effect of pure Strength, adorned by the sense accompaniments of glitter and show; the combination being more imposing and impressive than Strength unadorned. The pleasures of Movement, as in the Dance, are open to poetic handling. They lend themselves to metrical expression, from their rhythmical character. It is enough to refer to Gray's Ode on the Progress of Poesy,' I. 3. Feasting, and its accompaniment, Hilarity and Joviality, are often represented in language, as suggesting agreeable ideas. The refined feasts of the gods in Homer, and the feasts of angels in Milton, have the highest degree of refinement. The draught of vintage,' in Keats's Nightingale Ode, is one ་ PURE SENSE EFFECTS. 319 of his finest effects. Scott is in his element in feasting. (See his Christmas' in the Introduction to the Sixth Canto of Marmion.) Wine and its alcoholic equivalents in different countries have received poetic celebration in all ages. The effect is somewhat less gross and more inspiring than mere food-nourishment, and leads to the subjective delineation of elated animal spirits. Pope's 'Timon's Banquet' is sufficiently poetical, viewed as Satire, which was the author's aim. The hilarious is also allied with the healthy, or mere organic sensation in moments of vigour. Professor Veitch remarks: This state may be described as one of open-air feeling, and the chief sources of pleasure, and the things principally noted, would naturally be the sunshine and diffused brightness, the breeze, and the general fresh aspect of earth and sky, connecting itself with a consciousness of life and sensuous enjoyment. This state of feeling is no doubt capable of expression, and readily lends itself as an auxiliary to poetic description; but in itself it is too vague and indefinite to become the subject of pictorial delineation, for a picture essentially demands vivid details." The limitation is so far just, that any representation needs to be aided by the external circumstances that either cause it, or fall in harmoniously with it. Hilarity, as social or gregarious, has many features to lay hold of, in the forms of collective rejoicing, which are in their nature pictorial, and open to all the arts of description suited to the case. (See FEELING, Gregarious, p. 183.) UTILITY. The Associations with the Useful have been already adverted to (pp. 8, 65) as important sources of Art pleasure. They draw for aid upon the Beneficent Emotion, while being, in the main, vaguely pleasurable. A large department of Literature is devoted to the great discoveries of Utility, purely for the sake of the interest that they impart. The description of Mining in the 28th chapter of Job (which should be read in the Revised Version) is raised to poetical magnificence, by using fine sense effects, along with the language of power. What is wanted is to supply adequate expression for the power at work, with splendour in the accompaniments, if possible, and beneficence in the results; at the same time there must be a careful eschewing of vulgar or unpleasing adjuncts. Certain phases of Nature lend themselves to the marvellous, from the greatness of the results due to what appear small causes. These are genuine cases of the quality of Strength in its purest form. For example, the simple fact that iron can take on two states, one soft and pliable, the other hard and unyielding, is the foundation of nearly all modern industrial art and civilization. Again, the law of the expansion of bodies by heat, and their contraction by cold, is subject to a remarkable exception, in the case of water. When cooled to 39°, it contracts no farther, but expands down to the freezing point; so that ice floats on water warmer than itself. But for this fact, the seas in the temperate and polar regions would be a mass of ice, with only a superficial stratum of water in summer. Compare with these the sensational saying of Carlyle'Not a leaf that rots, but has force in it'. The drift of the remark would seem to be to illustrate Nature's greatness by quoting one of its least dignified operations. Probably the resistance to decay, the keeping of things alive, might be turned to still better account for rousing emotion. As instrumental to Utility, we may take in Order, Arrangement, Plan, Method, Unity in Multiplicity; all which we regard with pleasure, whether with or without the emotions of Strength on the one hand, and Feeling, as Beneficence, on the other. Yet so valuable are these mighty adjuncts, that they are rarely left unappealed to in the celebration of Utility. Without them, dependence must be placed on the multitude and volume of pleasing associations of the miscellaneous sort, that can be awakened by means of well-chosen allusions. IMITATION. The subject of IMITATION, although in the closest alliance with the production of the chief Emotional Qualities, has a perfectly distinct and independent standing. Whatever be the emotion in a poem or other piece of art, we may gain a pleasure from its imitation of some original; and, when the effect is attained in its highest excellence, the |