This is also true in the universe. 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.
[And, among the tamer beasts, [he] longs to be granted, in answer to his prayers,
a slavering boar, or to have a tawny lion come down from the mountain.]
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 facility 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.69 On the contrary, a vulgar and trivial conception is stiled indifferently low or mean. Prosperity is denominated ascent, and adversity descent. Kings and princes are 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.
It is 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 it is 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, until 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 fail or cadence of the harmony or period; the idea of facility communicating to us that of descent, in the same manner as descent produces a facility?
Since the imagination, therefore, in running from low to high, finds an opposition in its internal qualities and principles, and since the soul, when elevated with joy and courage, in a manner seeks opposition, and throws itself with alacrity into any scene of thought or action, where its courage meets with matter to nourish and employ it; it follows, that everything, which invigorates and enlivens the soul, whether by touching the passions or imagination naturally conveys to the fancy this inclination for ascent, and determines it to run against the natural stream of its thoughts and conceptions. This aspiring progress of the imagination suits the present disposition of the mind; and the difficulty, instead of extinguishing its vigour and alacrity, has the contrary affect, of sustaining and increasing it. Virtue, genius, power, and riches are for this reason associated with height and sublimity; as poverty, slavery, and folly are conjoined with descent and lowness. Were the case the same with us as Milton represents it to be with the angels, to whom descent is adverse, and who cannot sink without labour and compulsion, this order of things would be entirely inverted; as appears hence, that the very nature of ascent and descent is derived from the difficulty and propensity, and consequently every one of their effects proceeds from that origin.
All this is easily applied to the present question, why a considerable distance in time produces a greater veneration for the distant objects than a like removal in space. The imagination moves with more difficulty in passing from one portion of time to another, than in a transition through the parts of space; and that because space or extension appears united to our senses, while time or succession is always broken and divided. This difficulty, when joined with a small distance, interrupts and weakens the fancy: But has a contrary effect in a great removal. The mind, elevated by the vastness of its object, is still farther elevated by the difficulty of the conception; and being obliged every moment to renew its efforts in the transition from one part of time to another, feels a more vigorous and sublime disposition, than in a transition through the parts of space, where the ideas flow along with easiness and facility. In this disposition, the imagination, passing, as is usual, from the consideration of the distance to the view of the distant objects, gives us a proportionate veneration for it; and this is the reason why all the
