to be remarked is, that in fome inftances an unexpected object overpowers the mind, fo as to produce a momentary ftupefaction: where the object is dangerous, or appears fo, the fudden alarm it gives, without preparation, is apt totally to unhinge the mind, and for a moment to fufpend all its faculties, even thought itfelf *; in which state a man is quite helplefs; and if he move at all, is as like to run upon the danger as from it. Surprife carried to fuch a height, cannot be either pleafant or painful; because the mind, during fuch momentary ftupefaction, is in a good measure, if not totally, infenfible.

If we then inquire for the character of this emotion, it must be where the unexpected object or event produceth lefs violent effects. And while the mind remains fenfible of pleasure and pain, is it not natural to fuppofe, that surprise, like wonder, fhould have an invariable character? I am inclined however to think, that furprife has no invariable character, but affumes that of the object which raises it. Wonder being an emotion invariably raifed by novelty, and being diftinguishable from all other emotions, ought naturally to poffefs one conftant character. The unexpected appearance of an object, seems not equally entitled to produce an emotion distinguishable from that which is produced

R 4

* Hence the Latin names for furprise, torpor, animi ftupor.

duced by the object in its ordinary appearance: the effect it ought naturally to have, is only to fwell that emotion, by making it more pleasant or more painful than it commonly is. And that conjecture is confirmed by experience, as well as by language, which is built upon experience: when a man meets a friend unexpectedly, he is faid to be agreeably furprifed; and when he meets an enemy unexpectedly he is faid to be difagreeably furprised. It appears, then, that the fole effect of furprife is to fwell the emotion raised by the object. And that effect can be clearly explained: a tide of connected perceptions glide gently into the mind, and produce no perturbation; but an object breaking in unexpectedly, founds an alarm, roufes the mind out of its calm ftate, and directs its whole attention to the object, which, if agreeable, becomes doubly fo. Several circumstances concur to produce that effect: on the one hand, the agitation of the mind, and its keen attention, prepare it in the most effectual manner for receiving a deep impreffion on the other hand, the object, by its fudden and unforeseen appearance, makes an impreffion, not gradually as expected objects do, but as at one ftroke with its whole force. The circumstances are precifely fimilar where the object is in itfelf difagreeable *.

The

*What the Marefchal Saxe terms le cœur humain is no other than fear occafioned by furprise. It is owing to

that

The pleasure of novelty is eafily diftinguished from that of variety to produce the latter, a plurality of objects is neceffary; the former arifes from a circumftance found in a fingle ob

ject.

that cause that an ambush is generally fo deftructive: intelligence of it beforehand renders it harmless. The Marefchal gives from Cæfar's Commentaries two examples of what he calls le cœur humain. At the fiege of Amiens by the Gauls, Cæfar came up with his army, which did not exceed 7000 men, and began to intrench himself in such hurry, that the barbarians, judging him to be afraid, attacked his intrenchments with great spirit. During the time they were filling up the ditch, he issued out with his cohorts; and, by attacking them unexpectedly, ftruck a panic that made them fly with precipitation, not a fingle man offering to make a stand. At the fiege of Alefia, the Gauls, infinitely fuperior in number, attacked the Roman lines of circumvallation, in order to raise the fiege, Cæfar ordered a body of his men to march out filently, and to attack them on the one flank, while he with another body did the fame on the other flank. The surprise of being attacked when they expected a defence only, put the Gauls into diforder, and gave an easy victory to Cæfar.

A third may be added, no lefs memorable. In the year 846, an obftinate battle was fought between Xamire King of Leon, and Abdoulrahman the Moorish King of Spain. After a very long conflict, the night only prevented the Arabians from obtaining a complete victory. The King of Leon, taking advantage of the darkness, retreated to a neighbouring hill, leaving the Arabians mafters of the field of battle. Next morning, perceiving that he could not maintain his place for want of provi

fions,

ject. Again, where objects, whether co-existent or in fucceffion, are fufficiently diverfified, the pleasure of variety is complete, though every fingle object of the train be familiar: but the pleasure of novelty, directly oppofite to familiarity, requires no diverfification.

There are different degrees of novelty, and its effects are in proportion. The lowest degree is found in objects furveyed a fecond time after a long interval; and that in this cafe an object takes on some appearance of novelty, is certain from experience: a large building of many parts variously adorned, or an extenfive field embellished with trees, lakes, temples, ftatues, and other ornaments, will appear new oftener than once the memory of an object fo complex is foon loft, of its parts at least, or of their arrangement. But experience teaches, that even without any decay of remembrance, abfence alone will give an air of novelty to a once familiar object; which is not furprifing, becaufe familiarity wears off gradually by abfence: thus a

perfon

fions, nor be able to draw off his men in the face of a victorious army, he ranged his men in order of battle, and, without lofing a moment, marched to attack the enemy, refolving to conquer or die. The Arabians, astonished to be attacked by those who were conquered the night before, loft all heart: fear fucceeded to aftonishment, the panic was univerfal, and they all turned their backs without almost drawing a fword.

person with whom we have been intimate, returning after a long interval, appears like a new acquaintance and diftance of place contributes to this appearance, no lefs than diftance of time: a friend, for example, after a fhort abfence in a remote country, has the fame air of novelty as if he had returned after a longer interval from a place near home: the mind forms a connection between him and the remote country, and beflows upon him the fingularity of the objects he has seen. For the fame reafon, when two things equally new and fingular are prefented, the spectator balances between them; but when told that one of them is the product of a diftant quarter of the world, he no longer hefitates, but clings to it as the more fingular. Hence the preference given to foreign luxuries, and to foreign curiofities, which appear rare in proportion to their original distance.

The next degree of novelty, mounting up. ward, is found in objects of which we have fome information at fecond hand; for defcription, though it contribute to familiarity, cannot altogether remove the appearance of novelty when the object itself is prefented: the firft fight of a lion occafions fome wonder, after a thorough acquaintance with the correcteft pictures and ftatues of that animal.

A new object that bears fome diftant refemblance to a known fpecies, is an inftance of a third degree of novelty: a ftrong refemblance

among