Elements of Criticism: In Two Volumes

Chapter 6. Novelty, and the unexpected appearance of Objects

185 u chapter vi u Novelty, and the Unexpected Appearance of Objects Of all the circumstances thatraise emotions,notexceptingbeauty,noreven greatness, novelty hath the most powerful influence. A new object produceth instantaneously an emotion termed wonder, which totally occupies the mind, and for a time excludes all other objects. Conversation among the vulgar never is more interesting than when it turns upon strangeobjects and extraordinary events. Men tear themselves from their native country in search of things rare and new; and novelty converts into a pleasure, the fatigues and even perils of travelling. To what cause shall we ascribe these singular appearances? To curiosity undoubtedly, a principle implanted in human nature for a purpose extremely beneficial, that of acquiring knowledge ; and the emotion of wonder, raised by new and strange objects, inflames our curiosity to know more of them. This emotion is different from admiration: novelty where ever found, whether in a quality or action, is the cause of wonder; admiration is directed to the person who performs any thing wonderful. During infancy, every new object is probably the occasion of wonder, in some degree; because, during infancy, every object at first sight is strange as well as new: but as objects are rendered familiar by custom, we cease by degrees towonder atnewappearances,if theyhaveanyresemblancetowhat we are acquainted with; for a thing must be singular as well as new, to raise our wonder. To save multiplying words, I would be understood to comprehend both circumstances when I hereafter talk of novelty. In an ordinary train of perceptions where one thing introduces another, 186 chapter vi not a single object makes its appearance unexpectedly:* the mind thus prepared forthereceptionof itsobjects,admitsthemoneafteranotherwithout perturbation. But when a thing breaks in unexpectedly, and without the preparation of any connection, it raises an emotion, known by the name of surprise. That emotion may be produced by the most familiar object, as when one unexpectedly meets a friend who was reported to be dead; or a man in high life, lately a beggar. On the other hand, a new object, however strange, will not produce the emotion, if the spectator be prepared for the sight: an elephant in India will not surprise a traveller who goes to see one; and yet its novelty will raise his wonder: an Indian in Britain would be much surprised to stumble upon an elephant feeding at large in theopen fields: but the creature itself, to which he was accustomed, would not raise his wonder. Surprise thus in several respects differs from wonder: unexpectedness is the cause of the former emotion; novelty is the cause of the latter. Nor differ they less in their nature and circumstances, as will be explained by and by. With relation to one circumstance they perfectly agree; which is, the shortness of their duration: theinstantaneousproductionof theseemotions in perfection, may contribute to that effect, in conformity toageneral law, That things soon decay which soon come to perfection: the violence of the emotions may also contribute; for an ardent emotion, which is not susceptible of increase, cannot have a long course. But their short duration is occasioned chiefly by that of their causes: we are soon reconciled to an object, however unexpected; and novelty soon degenerates into familiarity. Whether these emotions be pleasant or painful, is not a clear point. It may appear strange, that our own feelings and their capitalqualities,should afford any matter for a doubt: but when we are engrossed by any emotion, there is no place for speculation; and whensufficientlycalmforspeculation, it is not easy to recal the emotion with accuracy. New objects are sometimes terrible, sometimes delightful: the terror which a tyger inspires is greatest at first, and wears off gradually by familiarity: on the other hand, even women will acknowledge that it is novelty which pleases the most in a new fashion. It would be rash however to conclude, that wonder is in * See chap. 1. novelty, and the unexpected 187 itself neither pleasant nor painful, but that it assumes either quality according to circumstances. An object, it is true, that hath a threatening appearance , adds to our terror by its novelty: but from that experimentitdoth not follow, that novelty is in itself disagreeable; for it is perfectlyconsistent, that we be delighted with an object in one view, and terrified with it in another: a river in flood swelling over its banks, is a grand and delightful object; and yet it...