pathetic fallacy. Furthermore, if the human is used to measure beauty
in the non-human, the implication is that man, not God, is the measure
of beauty. By setting up man as the mediator between the material and
the divine, she points to the concentration in the next century on
human values.

When discussing the _Enquiry_ in his book on the _Sublime_, Samuel
Monk pointed out certain other tendencies which fore-shadow the
coming Romantic revolt. This shift may also be noted in Miss Reynolds'
extension of countenance, the reflection of internal virtue, to mean
"form," and the extension of internal virtue to mean "disposition,"
"object," or content. In developing this form-content division, she
stumbles on a key criticism of associationism: "From association of
ideas, any object may be pleasing, though absolutely devoid of beauty,
and displeasing with it. The form is _then_ out of the question; it is
some _real_ good or evil, with which the object, but not its form, is
associated." This notion that associationism leads away from the
work of art as such is a perceptive comment. Her notion that form and
disposition (or content) must correspond in order to give aesthetic
pleasure suggests, though the terms are different, certain of
Coleridge's basic ideas.

One other point might be stressed: Miss Reynolds takes an extreme
moralistic position toward the arts. Again and again it is insisted
that taste and beauty are moral attributes, not purely aesthetic
concepts. Chapter II ends with the ringing statement: "Of this I
am certain, that true refinement is the effect of true virtue; that
virtue is truth, and good; and that beauty dwells in them, and they
in her." And the next chapter begins: "Taste seems to be an inherent
impulsive tendency of the soul towards true good." On the other