Erasmus Darwin

“ Thus an ancient poet is said to have written a poem on the miseries of the world, and to have thence become so unhappy as to destroy himself. When we reflect on the perpetual destruction of organic life, we should also recollect, that it is perpetually renewed in other forms by the same materials, and thus the sum total of the happiness of the world continues undiminished; and that a philosopher may thus smile again on turning his eyes from the coffins of nature to her cradles. ”

“ The impossibility of two bodies existing together in the same space cannot be deduced from our idea of solidity, or of figure. As soon as we perceive the motions of objects that surround us, and learn that we possess a power to move our own bodies, we experience, that those objects, which excite in us the idea of solidity and of figure, oppose this voluntary movement of our own organs; as whilst I endeavour to compress between my hands an ivory ball into a spheroid. And we are hence taught by experience, that our own body and those, which we touch, cannot exist in the same part of space. ”

“ In respect to freewill, it is certain, that we cannot will to think of a new train of ideas, without previously thinking of the first link of it; as I cannot will to think of a black swan, without previously thinking of a black swan. But if I now think of a tail, I can voluntarily recollect all animals, which have tails; my will is so far free, that I can pursue the ideas linked to this idea of tail, as far as my knowledge of the subject extends; but to will without motive is to will without desire or aversion; which is as absurd as to feel without pleasure or pain ”

“ In the midst of this group reclines a female figure in a dying attitude, in which extreme languor is beautifully represented, in her hand is an inverted torch, an antient emblem of extinguished life, the elbow of the same arm resting on a stone supports her as she sinks, while the other hand is raised and thrown over her drooping head, in some measure sustaining it and gives with great art the idea of fainting lassitude. On the right of her sits a man, and on the left a woman, both supporting themselves on their arms, as people are liable to do when they are thinking intensely. ”

“ Man is termed by Aristotle an imitative animal; this propensity to imitation not only appears in the actions of children, but in all the customs and fashions of the world: many thousands tread in the beaten paths of others, for one who traverses regions of his own discovery. The origin of this propensity of imitation has not, that I recollect, been deduced from any known principle; when any action presents itself to the view of a child, as of whetting a knife, or threading a needle, the parts of this action in respect of time, motion, figure, is imitated by a part of the retina of his eye ”

“ Sir Joshua Reynolds has introduced sublimity even into its portraits; we admire the representation of persons, whose reality we should have passed by unnoticed. Mrs. Angelica Kauffman attracts our eyes with beauty, which I suppose no where exists; certainly few Grecian faces are seen in this country. And the daring pencil of Fuseli transports us beyond the boundaries of nature, and ravishes us with the charm of the most interesting novelty. ”

“ In the state of nature when the sense of hunger is appeased by the stimulus of agreeable food, the business of the day is over, and the human savage is at peace with the world, he then exerts little attention to external objects, pleasing reveries of imagination succeed, and at length sleep is the result: till the nourishment which he has procured, is carried over every part of the system to repair the injuries of action, and he awakens with fresh vigour, and feels a renewal of his sense of hunger. ”

“ And hence at our maturer years, when any object of vision is presented to us, which by its waving or spiral lines bears any similitude to the form of the female bosom, whether it be found in a landscape with soft gradations of rising and descending surface, or in the forms of some antique vases, or in other works of the pencil or the chisel, we feel a general glow of delight, which seems to influence all our senses; and if the object be not too large, we experience an attraction to embrace it with our arms, and to salute it with our lips, as we did in our early infancy the bosom of our mother. ”

“ Our perception of beauty consists in our recognition by the sense of vision of those objects, first, which have before inspired our love by the pleasure, which they have afforded to many of our senses: as to our sense of warmth, of touch, of smell, of taste, hunger and thirst; and, secondly, which bear any analogy of form to such objects.
When the babe, soon after it is born into this cold world, is applied to its mother's bosom; its sense of perceiving warmth is first agreeably affected; next its sense of smell is delighted with the odour of her milk ”

“ Thus in a room hung with a paper, which is coloured over with similar small black lozenges or rhomboids, many people become dizzy; for when they begin to fall, the next and the next lozenge succeeds upon the eye; which they mistake for the first, and are not aware, that they have any apparent motion. But if you fix a sheet of paper, or draw any other figure, in the midst of these lozenges, the charm ceases, and no dizziness is perceptible.—The same occurs, when we ride over a plain covered with snow without trees or other eminent objects. ”

“ All our emotions and passions seem to arise out of the exertions of these two faculties of the animal sensorium. Pride, hope, joy, are the names of particular pleasures: shame, despair, sorrow, are the names of peculiar pains: and love, ambition, avarice, of particular desires: hatred, disgust, fear, anxiety, of particular aversions. Whilst the passion of anger includes the pain from a recent injury, and the aversion to the adversary that occasioned it. And compassion is the pain we experience at the sight of misery, and the desire of relieving it. ”