The emotions raised by great and by elevated objects, are clearly distinguishable, not only in the internal feeling, but even in their external expressions. A great object dilates the breast, and makes the spectator endeavour to enlarge his bulk. This is remarkable in persons, who, neglecting delicacy in behaviour, give way to nature without reserve. In describing a great object, they naturally expand themselves by drawing in air with all their force. An elevated object produces a different expression. It makes the spectator stretch upward and stand a tiptoe. Great and elevated objects considered with relation to the emotions produced by them, are termed _grand_ and _sublime_. Grandeur and sublimity have a double signification. They generally signify the quality or circumstance in the objects by which the emotions are produced; sometimes the emotions themselves. Whether magnitude singly in an object of sight, have the effect to produce an emotion distinguishable from the beauty or deformity of that object; or whether it be only a circumstance modifying the beauty or deformity, is an intricate question. If magnitude produce an emotion of its own distinguishable from others, this emotion must either be pleasant or painful. But this seems to be contradicted by experience; for magnitude, as it would appear, contributes in some instances to beauty, in some to deformity. A hill, for instance, is agreeable, and a great mountain still more so. But an ugly monster, the larger, the more horrid. Greatness in an enemy, great power, great courage, serve but to augment our terror. Hath not this an appearance as if grandeur were not an emotion distinct from all others, but only a circumstance that qualifies beauty and deformity?