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There is another cause, which both contributes to[Pg 188] the same effect, and proceeds from the same quality of the fancy, by which we are determined to trace the succession of time by a similar succession of ideas. When, from the present instant, we consider two points Of time equally distant in the future and in the past, 'tis evident that, abstractedly considered, their relation to the present is almost equal. For as the future will some time be present, so the past was once present. If we could, therefore, remove this quality of the imagination, an equal distance in the past and in the future would have a similar influence. Nor is this only true when the fancy remains fixed, and from the present instant surveys the future and the past; but also when it changes its situation, and places us in different periods of time. For as, on the one hand, in supposing ourselves existent in a point of time interposed betwixt the present instant and the future object, we find the future object approach to us, and the past retire and become more distant: so, on the other hand, in supposing ourselves existent in a point of time interposed betwixt the present and the past, the past approaches to us, and the future becomes more distant. But from the property of the fancy above mentioned, we rather choose to fix our thought on the point of time interposed betwixt the present and the future, than on that betwixt the present and the past. We advance rather than retard our existence; and, following what seems the natural succession of time, proceed from past to present, and from present to future; by which means we conceive the future as flowing every moment nearer us, and the past as retiring. An equal distance, therefore, in the past and in the future, has not the same effect on the imagination; and that because we consider the one as continually[Pg 189] increasing, and the other as continually diminishing. The fancy anticipates the course of things, and surveys the object in that condition to which it tends, as well as in that which is regarded as the present.
Thus, we have accounted for three phenomena, which seem pretty remarkable. Why distance weakens the conception and passion: why distance in time has a greater effect than that in space: and why distance in past time has still a greater effect than that in future. We must now consider three phenomena, which seem to be in a manner the reverse of these: why a very great distance increases our esteem and admiration for an object: why such a distance in time increases it more than that in space: and a distance in past time more than that in future. The curiousness of the subject will, I hope, excuse my dwelling on it for some time.
To begin with the first phenomenon, why a great distance increases our esteem and admiration for an object; 'tis evident that the mere view and contemplation of any greatness, whether successive or extended, enlarges the soul, and gives it a sensible delight and pleasure. A wide plain, the ocean, eternity, a succession of several ages; all these are entertaining objects, and excel every thing, however beautiful, which accompanies not its beauty with a suitable greatness. Now, when any very distant object is presented to the[Pg 190] imagination, we naturally reflect on the interposed distance, and by that means conceiving something great and magnificent, receive the usual satisfaction. But as the fancy passes easily from one idea to another related to it, and transports to the second all the passions excited by the first, the admiration, which is directed to the distance, naturally diffuses itself over the distant object. Accordingly we find, that 'tis not necessary the object should be actually distant from us in order to cause our admiration; but that 'tis sufficient if, by the natural association of ideas, it conveys our view to any considerable distance. A great traveller, though in the same chamber, will pass for a very extraordinary person; as a Greek medal, even in our cabinet, is always esteemed a valuable curiosity. Here the object, by a natural transition, conveys our view to the distance; and the admiration which arises from that distance, by another natural transition, returns back to the object.
But though every great distance produces an admiration for the distant object, a distance in time has a more considerable effect than that in space. Ancient busts and inscriptions are more valued than Japan tables: and, not to mention the Greeks and Romans, 'tis certain we regard with more veneration the old Chaldeans and Egyptians, than the modern Chinese and Persians; and bestow more fruitless pains to clear up the history and chronology of the former, than it would cost us to make a voyage, and be certainly informed of the character, learning, and government of the latter. I shall be obliged to make a digression in order to explain this phenomenon.
'Tis a quality very observable in human nature, that any opposition which does not entirely discourage and intimidate us, has rather a contrary effect, and inspires[Pg 191] us with a more than ordinary grandeur and magnanimity. In collecting our force to overcome the opposition, we invigorate the soul, and give it an elevation with which otherwise it would never have been acquainted. Compliance, by rendering our strength useless, makes us insensible of it; but opposition awakens and employs it.
This is also true in the inverse. Opposition not only enlarges the soul; but the soul, when full of courage and magnanimity, in a manner seeks opposition.
Spumantemque dari pecora inter inertia votis
Optat aprum, aut fulvum descendere monte leonem.
Whatever supports and fills the passions is agreeable to us; as, on the contrary, what weakens and enfeebles them is uneasy. As opposition has the first effect, and facilitates the second, no wonder the mind, in certain dispositions, desires the former, and is averse to the latter.
These principles have an effect on the imagination as well as on the passions. To be convinced of this, we need only consider the influence of heights and depths on that faculty. Any great elevation of place communicates a kind of pride or sublimity of imagination, and gives a fancied superiority over those that lie below; and, vice versa, a sublime and strong imagination conveys the idea of ascent and elevation. Hence it proceeds, that we associate, in a manner, the idea of whatever is good with that of height, and evil with lowness. Heaven is supposed to be above, and hell below. A noble genius is called an elevate and sublime one. Atque udam spernit humum fugiente penna. On the contrary, a vulgar and trivial conception is styled indifferently low or mean. Prosperity is denominated ascent, and adversity descent. Kings and princes are[Pg 192] supposed to be placed at the top of human affairs; as peasants and day-labourers are said to be in the lowest stations. These methods of thinking and of expressing ourselves, are not of so little consequence as they may appear at first sight.
'Tis evident to common sense, as well as philosophy, that there is no natural nor essential difference betwixt high and low, and that this distinction arises only from the gravitation of matter, which produces a motion from the one to the other. The very same direction, which in this part of the globe is called ascent, is denominated descent in our antipodes; which can proceed from nothing but the contrary tendency of bodies. Now 'tis certain, that the tendency of bodies, continually operating upon our senses, must produce, from custom, a like tendency in the fancy; and that when we consider any object situated in an ascent, the idea of its weight gives us a propensity to transport it from the place in which it is situated to the place immediately below it, and so on till we come to the ground, which equally stops the body and our imagination. For a like reason we feel a difficulty in mounting, and pass not without a kind of reluctance from the inferior to that which is situated above it; as if our ideas acquired a kind of gravity from their objects. As a proof of this, do we not find, that the facility, which is so much studied in music and poetry, is called the fall or cadency of the harmony or period; the idea of facility communicating to us that of descent, in the same manner as descent produces a facility?
