The document discusses the causes of pain, fear, the sublime, and the beautiful. It argues that pain and fear produce similar physical effects through tension in the nerves, including tightened facial muscles and changes in breathing. Whether caused by anticipated or actual physical harm, pain and fear are argued to stem from the same source. The document uses this analysis to help explain the nature and origins of the sublime and beautiful in art.
The document discusses the causes of pain, fear, the sublime, and the beautiful. It argues that pain and fear produce similar physical effects through tension in the nerves, including tightened facial muscles and changes in breathing. Whether caused by anticipated or actual physical harm, pain and fear are argued to stem from the same source. The document uses this analysis to help explain the nature and origins of the sublime and beautiful in art.
The document discusses the causes of pain, fear, the sublime, and the beautiful. It argues that pain and fear produce similar physical effects through tension in the nerves, including tightened facial muscles and changes in breathing. Whether caused by anticipated or actual physical harm, pain and fear are argued to stem from the same source. The document uses this analysis to help explain the nature and origins of the sublime and beautiful in art.
the others derive their aflbciated powers; and it would be, I fancy, to little pur- pofe to look for the caufe of our paflions in aflbciation, until we fail of it in the natural properties of things.
SECT. III.
Caufe of P A I N and F E A R.
I Have before obferved, * that whatever
is qualified to caufe terror, is a foun- dation capable of the fublime; to which I add, that not only thefe, but many things from which we cannot probably apprehend any danger have a fimilar ef- fedl, becaufe they operate in a fimilar manner. I obferved too, that <f what- ever produces pleafure, pofitive and ori- ginal pleafure, is fit to have beauty en- grafted on it. Therefore, to clear up the nature of thefe qualities, it may be ne- * Part 1. fetf. 8. + Part 1. feft- 10. ceflary
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and B E A U T I F U L. 247 ceflary to explain the nature of pain and pleafure on which they depend, A man who fuffers under violent bodily pain; (I fuppofe the moft violent, becaufe the cffedt may be the more obvious.) I fay a man in great pain has his teeth fet, his eye-brows are violently contra&ed, his forehead is wrinkled, his eyes are dragged inwards, and rolled with great vehemence, his hair ftands an end, the voice is forced out in fhort fhrieks and groans, and the whole fabric totters. Fear or terror, which is an apprelien- fion of pain or death, exhibits exadly the fame effedls, approaching in violence to thofe juft mentioned in proportion to the nearnefs of the caufe, and the weak- nefs of the fubjeft. This is not only fo in the human fpecies, but I have more than once obferved in dogs, under an apprehenfion of punishment, that they have writhed their bodies, and yelped, and howled, as if they had adlually felt the blows. From hence I conclude R 4 that
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248 On the SUBLIME that pain, and fear, adl upon the fame parts of the body, and in the fame man- ner, though fomewhat differing in de- gree. That pain and fear confift in an unnatural tenfion of the nerves; that this is fometimes accompanied with an unnatural ftrength, which fometimes fuddenly changes into an extraordinary weaknefs; that thefe effects often come on alternately, and are fometimes mixed with each other. This is the nature of all convuliive agitations, efpecially in weaker f.ibje&s, which are the moft liable to the fevereft impreflions of pain and fear. The only difference Detween pain and terror, is, that things which caufc pain operate on the mind, by the intervention of the body; whereas things that caufe terror generally affedt the bodily organs by the operation of the mind fuggefting the danger; but both agreeing, either primarily, or feconda- rily, in producing a tenfion, contra- ction, or violent emotion of the nerves,
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and B E A U T I F U L. 249 nerves *, they agree likewife in every thing elfe. For it appears very clearly to me, from this, as well as from many other examples, that when the body is difpofed, by any means whatfoever, to fuch emotions as it would acquire by the means of a certain paflion; it will of itfelf excite fbmething very like that pafTion in the mind.
SECT. IV.
Continued.
T O this purpofe Mr. Spon, in his
Recherches d'Antiquite, gives us a curious ftory of the celebrated phy- fiognomift Campanella; this man, it feem?, had not only made very accurate
* I do not here enter into the queftion debated
among phyfiologifts, whether pain be the effect of a contraction, or a tenfion of the nerves. Either will ferve my purpofc ; for by tenfion, I mean no more than a violent pulling of the fibres, which compofe any muicle cr membrane, in whatever way this is done. obfer-
https://doi.org/10.1017/CBO9781107360495.074 Published online by Cambridge University Press
Michael Jackson & Michel Foucault Walk Into A Bar Author(s) : D. Gilson Source: The Threepenny Review, Vol. 143 (FALL 2015), Pp. 22-25 Published By: Threepenny Review Accessed: 08-05-2020 07:09 UTC