Selections from the Speeches and Writings of Edmund Burke [222]
all rational means of improving their fortunes. With these philosophic financiers, this universal medicine made of church mummy is to cure all the evils of the state. These gentlemen, perhaps, do not believe a great deal in the miracles of piety; but it cannot be questioned, that they have an undoubting faith in the prodigies of sacrilege. Is there a debt which presses them?--Issue assignats. Are compensations to be made, or a maintenance decreed to those whom they have robbed of their freehold in their office, or expelled from their profession?--Assignats. Is a fleet to be fitted out?--Assignats. If sixteen millions sterling of these assignats, forced on the people, leave the wants of the state as urgent as ever--issue, says one, thirty millions sterling of assignats--says another, issue fourscore millions more of assignats. The only difference among their financial factions is on the greater or the lesser quantity of assignats to be imposed on the public sufferance. They are all professors of assignats. Even those, whose natural good sense and knowledge of commerce, not obliterated by philosophy, furnish decisive arguments against this delusion conclude their arguments by proposing the emission of assignats. I suppose they must talk of assignats, as no other language would be understood. All experience of their inefficacy does not in the least discourage them. Are the old assignats depreciated at market? What is the remedy? Issue new assignats.--Mais si maladia opiniatria, non vult se garire, quid illi facere? assignare--postea assignare; ensuita assignare. The word is a trifle altered. The Latin of your present doctors may be better than that of your old comedy; their wisdom and the variety of their resources are the same. They have not more notes in their song than the cuckoo; though, far from the softness of that harbinger of summer and plenty, their voice is as harsh and as ominous as that of the raven.
UGLINESS.
It may, perhaps, appear like a sort of repetition of what we have before said, to insist here upon the nature of UGLINESS; as I imagine it to be in all respects the opposite to those qualities which we have laid down for the constituents of beauty. But though ugliness be the opposite to beauty, it is not the opposite to proportion and fitness. For it is possible that a thing may be very ugly with any proportions, and with a perfect fitness to any uses. Ugliness I imagine likewise to be consistent enough with an idea of the sublime. But I would by no means insinuate that ugliness of itself is a sublime idea, unless united with such qualities as excite a strong terror.
GRACE.
GRACEFULNESS is an idea not very different from beauty; it consists in much the same things. Gracefulness is an idea belonging to POSTURE and MOTION. In both these, to be graceful, it is requisite that there be no appearance of difficulty; there is required a small inflection of the body; and a composure of the parts in such a manner, as not to encumber each other, not to appear divided by sharp and sudden angles. In this ease, this roundness, this delicacy of attitude and motion, it is that all the magic of grace consists, and what is called its je ne sais quoi; as will be obvious to any observer, who considers attentively the Venus de Medicis, the Antinous, or any statue generally allowed to be graceful in a high degree.
ELEGANCE AND SPECIOUSNESS.
When any body is composed of parts smooth and polished, without pressing upon each other, without showing any ruggedness or confusion, and at the same time affecting some REGULAR SHAPE, I call it ELEGANT. It is closely allied to the beautiful, differing from it only in this REGULARITY; which, however, as it makes a very material difference in the affection produced, may very well constitute another species. Under this head I rank those delicate and regular works of art, that imitate no determinate object in nature, as elegant buildings, and pieces of furniture. When any object partakes of the above-mentioned qualities, are of those of beautiful bodies, and is withal
UGLINESS.
It may, perhaps, appear like a sort of repetition of what we have before said, to insist here upon the nature of UGLINESS; as I imagine it to be in all respects the opposite to those qualities which we have laid down for the constituents of beauty. But though ugliness be the opposite to beauty, it is not the opposite to proportion and fitness. For it is possible that a thing may be very ugly with any proportions, and with a perfect fitness to any uses. Ugliness I imagine likewise to be consistent enough with an idea of the sublime. But I would by no means insinuate that ugliness of itself is a sublime idea, unless united with such qualities as excite a strong terror.
GRACE.
GRACEFULNESS is an idea not very different from beauty; it consists in much the same things. Gracefulness is an idea belonging to POSTURE and MOTION. In both these, to be graceful, it is requisite that there be no appearance of difficulty; there is required a small inflection of the body; and a composure of the parts in such a manner, as not to encumber each other, not to appear divided by sharp and sudden angles. In this ease, this roundness, this delicacy of attitude and motion, it is that all the magic of grace consists, and what is called its je ne sais quoi; as will be obvious to any observer, who considers attentively the Venus de Medicis, the Antinous, or any statue generally allowed to be graceful in a high degree.
ELEGANCE AND SPECIOUSNESS.
When any body is composed of parts smooth and polished, without pressing upon each other, without showing any ruggedness or confusion, and at the same time affecting some REGULAR SHAPE, I call it ELEGANT. It is closely allied to the beautiful, differing from it only in this REGULARITY; which, however, as it makes a very material difference in the affection produced, may very well constitute another species. Under this head I rank those delicate and regular works of art, that imitate no determinate object in nature, as elegant buildings, and pieces of furniture. When any object partakes of the above-mentioned qualities, are of those of beautiful bodies, and is withal