The Analysis of Beauty. William Hogarth
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V.
Of Intricacy.
The active mind is ever bent to be employ'd. Pursuing is the business of our lives; and even abstracted from any other view, gives pleasure. Every arising difficulty, that for a while attends and interrupts the pursuit, gives a sort of spring to the mind, enhances the pleasure, and makes what would else be toil and labour, become sport and recreation.
Wherein would consist the joys of hunting, shooting, fishing, and many other favourite diversions, without the frequent turns and difficulties, and disappointments, that are daily met with in the pursuit?—how joyless does the sportsman return when the hare has not had fair play? how lively, and in spirits, even when an old cunning one has baffled, and out-run the dogs!
This love of pursuit, merely as pursuit, is implanted in our natures, and design'd, no doubt, for necessary, and useful purposes. Animals have it evidently by instinct. The hound dislikes the game he so eagerly pursues; and even cats will risk the losing of their prey to chase it over again. It is a pleasing labour of the mind to solve the most difficult problems; allegories and riddles, trifling as they are, afford the mind amusement: and with what delight does it follow the well-connected thread of a play, or novel, which ever increases as the plot thickens, and ends most pleas'd, when that is most distinctly unravell'd?
The eye hath this sort of enjoyment in winding walks, and serpentine rivers, and all sorts of objects, whose forms, as we shall see hereafter, are composed principally of what, I call, the waving and serpentine lines.
Intricacy in form, therefore, I shall define to be that peculiarity in the lines, which compose it, that leads the eye a wanton kind of chace, and from the pleasure that gives the mind, intitles it to the name of beautiful: and it may be justly said, that the cause of the idea of grace more immediately resides in this principle, than in the other five, except variety; which indeed includes this, and all the others.
That this observation may appear to have a real foundation in nature, every help will be requir'd, which the reader himself can call to his assistance, as well as what will here be suggested to him.
To set this matter in somewhat a clearer light, the familiar instance of a common jack, with a circular fly, may serve our purpose better than a more elegant form: preparatory to which, let the figure [Fig. 14 T p. I] be consider'd, which represents the eye, at a common reading distance viewing a row of letters, but fix'd with most attention to the middle letter A.
Now as we read, a ray may be supposed to be drawn from the center of the eye to that letter it looks at first, and to move successively with it from letter to letter, the whole length of the line: but if the eye stops at any particular letter, A, to observe it more than the rest, these other letters will grow more and more imperfect to the sight, the farther they are situated on either side of A, as is express'd in the figure: and when we endeavour to see all the letters in a line equally perfect at one view, as it were, this imaginary ray must course it to and fro with great celerity. Thus though the eye, strictly speaking, can only pay due attention to these letters in succession, yet the amazing ease and swiftness, with which it performs this task, enables us to see considerable spaces with sufficient satisfaction at one sudden view.
Hence, we shall always suppose some such principal ray moving along with the eye, and tracing out the parts of every form, we mean to examine in the most perfect manner: and when we would follow with exactness the course any body takes, that is in motion, this ray is always to be supposed to move with the body.
In this manner of attending to forms, they will be found, whether at rest, or in motion, to give movement to this imaginary ray; or, more properly speaking, to the eye itself, affecting it thereby more or less pleasingly, according to their different shapes and motions. Thus, for example, in the instance of the jack, whether the eye (with this imaginary ray) moves slowly down the line, to which the weight is fix'd, or attends to the slow motion of the weight itself, the mind is equally fatigu'd: and whether it swiftly courses round the circular rim of the flyer, when the jack stands; or nimbly follows one point in its circularity whilst it is whirling about, we are almost equally made giddy by it. But our sensation differs much from either of these unpleasant ones, when we observe the curling worm, into which the worm-wheel is fixt [Fig. 15 L p. I]: for this is always pleasing, either at rest or in motion, and whether that motion is slow or quick.
That it is accounted so, when it is at rest, appears by the ribbon, twisted round a stick (represented on one side of this figure) which has been a long-establish'd ornament in the carvings of frames, chimney-pieces, and door-cases; and call'd by the carvers, the stick and ribbon ornament: and when the stick, through the middle is omitted, it is call'd the ribbon edge; both to be seen in almost every house of fashion.
But the pleasure it gives the eye is still more lively when in motion. I never can forget my frequent strong attention to it, when I was very young, and that its beguiling movement gave me the same kind of sensation then, which I since have felt at seeing a country-dance; tho' perhaps the latter might be somewhat more engaging; particularly when my eye eagerly pursued a favourite dancer, through all the windings of the figure, who then was bewitching to the sight, as the imaginary ray, we were speaking of, was dancing with her all the time.
This single example might be sufficient to explain what I mean by the beauty of a composed intricacy of form; and how it may be said, with propriety, to lead the eye a kind of chace.
But the hair of the head is another very obvious instance, which, being design'd chiefly as an ornament, proves more or less so, according to the form it naturally takes, or is put into by art. The most amiable in itself is the flowing curl; and the many waving and contrasted turns of naturally intermingling locks ravish the eye with the pleasure of the pursuit, especially when they are put in motion by a gentle breeze. The poet knows it, as well as the painter, and has described the wanton ringlets waving in the wind.
And yet to shew how excess ought to be avoided in intricacy, as well as in every other principle, the very same head of hair, wisp'd, and matted together, would make the most disagreeable figure; because the eye would be perplex'd, and at a fault, and unable to trace such a confused number of uncomposed and entangled lines; and yet notwithstanding this, the present fashion the ladies have gone into, of wearing a part of the hair of their heads braided together from behind, like intertwisted serpents, arising thickest from the bottom, lessening as it is brought forward, and naturally conforming to the shape of the rest of the hair it is pin'd over, is extremely picturesque. Their thus interlacing the hair in distinct varied quantities is an artful way of preserving as much of intricacy, as is beautiful.
CHAPTER VI.
Of Quantity.
Forms of magnitude, although ill-shaped, will however, on account of their vastness, draw our attention and raise our admiration.
Huge shapeless rocks have a pleasing kind of horror in them, and the wide ocean awes us with its vast contents; but when forms of beauty are presented to the eye in large quantities, the pleasure increases on the mind, and horror is soften'd into reverence.
How solemn and pleasing are groves of high grown trees, great churches, and palaces? has not even a single spreading oak, grown to maturity, acquir'd the character of the venerable oak?
Windsor castle is a noble instance of the effect of quantity. The hugeness of its few distinct parts strikes the eye with uncommon grandeur at a distance, as well as nigh. It is quantity, with simplicity, which makes it one of the finest objects in the