Essays Aesthetical Part 1

Essays aesthetical.

by George Calvert.

I.

THE BEAUTIFUL.

The Beautiful is one of the immortal themes. It cannot die; it grows not old. On the same day with the sun was beauty born, and its life runs parallel with the path of that great beautifier. As a subject for exposition, it is at once easy and difficult: easy, from the affluence of its resources; difficult, from the exactions which its own spirit makes in the use of them.

Beauty--what is it? To answer this question were to solve more than one problem. Shall we attempt what has been so often attempted and never fully achieved? Such attempts are profitable. What though we reach not the very heart of the mystery, we may get near enough to hearken to the throb of its power, and our minds will be nerved by the approximation.

To him who has the gift to feel its presence, nature teems with beauty. Whithersoever the senses reach, whenever emotion kindles, wherever the mind seeks food for its finer appet.i.tes, there is beauty.

It expects us at the dawn; it is about us, "an hourly neighbor,"

through the day; at night it looks down on us from star-peopled immensities. Glittering on green lawns, glowing in sunsets, flashing through storm-clouds, gilding our wakeful hours, irradiating sleep, it is ever around, within us, eager to sweeten our labors, to purify our thoughts. Nature is a vast treasure-house of beauty, whereof the key is in the human heart.

But many are the hearts that have never opened far enough to disclose the precious key enfolded in their depths. Whole peoples are at this moment ignorant that they live amid such wealth. As with them now, so in the remote primitive times of our own race, before history was, nature was almost speechless to man. The earth was a waste, or but a wide hunting ground or pasturage; and human life a round of petty animal circles, scarcely sweeping beyond the field of the senses; until there gradually grew up the big-eyed Greek and the deep-souled Hebrew. Then, through creative thought,--that is, thought quickened and exalted by an inward thirst for the beautiful,--one little corner of Europe became radiant, and the valley of Tempe and the wooded glens of Parna.s.sus shone for the first time on the vision of men; for their eyes--opened from long sleep by inward stirring--were become as mirrors, and gave back the light of nature:

"Auxiliar light Came from their minds, which on the setting sun Bestowed new splendor."[1]

[1] Wordsworth.

And man, heated by the throbs of his swelling heart, made G.o.ds after his own image,--forms of such life and power and harmony that the fragments of them, spared by time, are still guarded as faultless models of manhood. And the vales and groves and streams were peopled with beauteous shapes. And the high places were crowned with temples which, in their majestic purity, look as though they had been posited there from above by heavenly hands. And by the teemful might of sculptors and painters and poets the dim past was made resurgent and present in glorious transfiguration. And the moral law was grasped at by far-reaching philosophies. In this affluence of genial activity so much truth was embodied in so much beauty, that by the products of the Greek mind even the newer, the deeper, the wiser Christian spirit is still instructed, still exalted.

In Asia, too, a chosen people early made a revelation of the beautiful. The Hebrews were introspective. At once ardent and thoughtful, pa.s.sionate and spiritual, their vigorous natures were charged with fiery materials for inward conflicts. Out of the secret chambers of troubled souls their poets and prophets sent forth cries of despair and of exultation, of expostulation and self-reproach, that ever find an echo in the conscience-smitten, sorrow-laden bosom of man. The power and wisdom of G.o.d they saw as no other ancient people had seen them. In the grandeurs and wonders of creation they could behold the being and the might and the goodness of the Creator. The strong, rich hearts of their seers yearned for a diviner life, in the deep, true consciousness they felt that there can be peace and joy to man only through reconcilement with G.o.d. And feeling their own unworthiness and impurity, as well as that of their people, they uttered their spiritual desires, and their aspirations and disappointments and indignations and humiliations, in strains that make their great writings sound like one long, impa.s.sioned, rhythmic wail through the bars of a dungeon. Gloomy, wrathful, and intense, their utterances are grand and pathetic and sublime; but the beautiful plays through them, and gilds their highest points as the white crests do the billows of a black, tempestuous sea.

Save these two, no other nations of antiquity, except the Hindoos, seem to have had more than a superficial susceptibility to the beautiful. The Romans learnt the arts from the Greeks, whom they imitated, at a wide distance, in poetry as well as in sculpture and architecture. The remnants of art found in the valley of the Nile prove the Egyptians to have had the germ without the vitality to unfold it. In the literature of the Hindoos there are currents of pure poetry and of biblical depth. In pa.s.sing down from ancient to modern times the Persians and the Arabians light the long way with scintillations from the beautiful.

The ugly semi-barbarian darkness of the Middle Ages in Europe was first broken by the light that shone from the spires of Gothic cathedrals in the eleventh century. About the twelfth century the German mind was further illuminated by that mysterious, visionary, t.i.tanic, Teutonic epic, the Niebelungen Lied; and a little later appeared the troubadours in the south of Europe and the minnesingers (love-singers) in Germany. Next came Dante and Giotto in Italy, then Chaucer in England; so that by the end of the fourteenth century, poetry and the arts, the offspring of the beautiful,--and who can have no other parentage,--had established themselves in the modern European mind, and have since, with varying vigor of life, upheld themselves among Christian nations. To these they are now confined. In the most advanced of Mahometan and heathen peoples sensibility to beauty is hardly awakened, and among savages it seems scarcely to exist, so deeply is it dormant.

Thus to indicate when and by whom the beautiful has been recognized will further us in the endeavor to learn wherein consists that which, enriching the world of man so widely and plenteously, is deeply enjoyed by so few.

Were the beautiful, like size and shape and strength and nimbleness, cognizable by intellectual perception, even the Hottentot would get to know something of it in the forest, along with the grosser qualities of trees and valleys. Were it liable to be seized by the discursive and ratiocinative intellect, the most eminent statesman or lawyer or general would excel too in the capacity to appreciate beauty; the Roman would have shone in arts as in arms; the Spartan would not have been so barren where the Athenian was so prolific. But beauty is _felt_, not intellectually apprehended or logically deduced. Its presence is acknowledged by a gush from the soul, by a joyous sentimental recognition, not by a discernment of the understanding.

When we exclaim, How beautiful! there is always emotion, and delightful, expansive, purifying emotion. Whence this mysterious cleansing thrill? Thence, that the recognition of beauty ever denotes, ever springs out of, sympathy with the creative spirit whence all things have their being.

The beautiful, then, is not subject to the intellect. We cannot demonstrate or coldly discover it; we cannot weigh or measure it.

Further to ill.u.s.trate this position: we do not see with our outward eye any more than we do with spectacles. The apparent ocular apparatus is but the pa.s.sive, unconscious instrument to transmit images thrown through it upon a fine interior fibre, the optic nerve; and even this does not take cognizance of the object, but is only another conductor, carrying the image still farther inward, to the intellectual nerves of the brain; and not until it reaches them do we see the object, not until then is its individuality and are its various physical qualities, size, shape, etc., apprehended. And now the intellect itself becomes a conductor, transmitting still deeper inward to the seat of emotion the image of the object; and not until it reaches that depth is its beauty recognized.

In all her structures and arrangements Nature is definite, precise, and economical. In subdivision of labor she is minute and absolute, providing for every duty its special exclusive agent. In the mind there is as severe a sundering of functions as in the body, and the intellect can no more encroach upon or act for the mental sensibilities than the stomach can at need perform the office of the heart, or the liver that of the lungs. True, no ripe results in the higher provinces of human life can be without intimate alliance between the mental sensibilities and the intellect; nevertheless they are in essence as distinct from one another as are the solar heat and the moisture of the earth, without whose constant cooperation no grain or fruit or flower can sprout or ripen.

We live not merely in a world of material facts, and of objects and things cognizable through the senses, but also in a spiritual world.

We live not only in presence of visible creation, but in presence of the invisible Creator. With the creation we are in contact through the intellect. Knowledge of all objects and the qualities of objects that are within reach of the senses; distance and other material relations; the bonds of cause and effect and of a.n.a.logy, that bind all created things in countless multiplicity of subtle relations,--these the intellect gathers in its grasp. But with the Creator we are in communication only through feeling. The presence, the existence of G.o.d cannot by pure intellect be demonstrated: it must be felt in order to be proved. The ma.s.s of objects and relations presented to us in nature the intellect can learn, count, and arrange; but the life that incessantly permeates the whole and every part, the spirit that looks out from every object and every fact,--of the range and pitch of whose power we have a faint token in the tornado and the earthquake,--of this divine essence we should not have even an intimation through the intellect alone. Not chemists, astronomers, mechanicians have uttered the deepest thoughts about G.o.d, but prophets and poets: not Davys, but Coleridges; not Herschels, but Wordsworths. It is a common belief, indeed, that men addicted to the exact sciences are rather wanting than otherwise in power to appreciate the invisible, a belief pungently embodied by Wordsworth in the lines,--

"Physician art thou? one all eyes, Philosopher! a fingering slave, One that would peep and botanize Upon his mother's grave?"

This is as much under the mark as is above it that saying of some one, "An undevout astronomer is mad." A man's being endowed with rare mathematical talent is no cause why he should or should not be devout.

His gifts to weigh and measure the stars are purely intellectual; and nature being seldom profuse upon one individual,--as she was upon Pascal and Newton,--the presumption as to an astronomer, of whom we know nothing, would be that what may be termed his emotive appreciation of stars and stellar systems is probably not so full as his intellectual. And no amount or quality of intellectual insight can supply or compensate a want of sensibility. No matter how many hundreds of millions of miles he may pierce into s.p.a.ce, he has still to do with the visible and calculable. But religion is the putting of the human mind in relation with the invisible, the incalculable. A man gets no nearer to G.o.d through a telescope than through a microscope, and no nearer through either than through the naked eye. Who cannot recognize the divine spirit in the hourly phenomena of nature and of his own mind will not be helped by the differential calculus, or any magnitude or arrangement of telescopic lenses.

That we ever live not only in a material, but also in a spiritual world, can be easily apprehended without at all entangling ourselves in the web-work of metaphysics. The least of our acts or motions, is it not always preceded by a thought, a volition, a something intangible, invisible? All that we voluntarily do is, must be, an offspring of mind. The waving of the hand is never a simple, it is a compound process: mind and body, spirit and matter, concur in it. The visible, corporeal movement is but the outward expression of an inward, incorporeal movement. And so in all our acts and motions, from birth till death; they issue out of the invisible within us; they are feelings actualized, thoughts embodied. The embodiment is perishable, the source of it imperishable. It is not a recondite, super-subtle, metaphysical or psychological postulate, it is a palpable, and may be and ought to be a familiar fact, that each one of us is ruled by the eternal and invisible within us.

Now, just as our words and deeds and movements stand to our mind, as being the utterance and embodiment of that, so do we stand towards Deity, being the utterance and embodiment of the divine thought and will. As all our doings are but exhibitions of our minds, so ourselves are manifestations of G.o.d. Through all things shines the eternal soul.

The more perfect the embodiment, the more translucent is the soul; and when this is most transparent, making the body luminous with the fullness of its presence, there is beauty, which may be said to be the most intense and refined incarnation and exhibition of the divine spirit.

Behind and within every form of being is immanent the creative power; and thence, in proportion as this power discloses itself, is object, act, or emotion beautiful. Thus is beauty always spiritual, a revelation more or less clear of the creative spirit. Hence our emotion in presence of the truly beautiful, which calms and exalts us.

Hence evil never is, cannot be, beautiful: the bad is, must be, ugly.

Evil consists in the deficiency of the divine creative spirit, whose fullness gives, is, beauty. Evil is imperfection, unripeness, shapelessness, weakness in, or opposition to, the creative spirit.

Evil is life that is unhealthy, short-coming. Wherever there is full, unperverted life, there is, there must be, beauty. The beautiful blossoms on every stem of unpoisoned power. The sap of sound life ever molds itself into forms of beauty.

But however rich the exhibition of the divine soul, however glowing with perfection the form, however n.o.ble the act and pure the feeling, the richness, the perfection, the n.o.bleness, the purity will be lost on us, unless within us there be sympathy with the spirit whence they flow. Only by spirit can spirit be greeted.

Thus beauty only becomes visible--I might say only becomes actual--by the fire kindled through the meeting of a perfection out of us and an inward appet.i.te therefor. And it is the flaming of this fire, thus kindled, that lights up to us the whole world wherein we live, the inward and the outward. This fire unlighted, and on the face of nature there is darkness, in our own minds there is darkness. For though all nature teems with the essence and the outward mold of beauty, to the unkindled mind beauty is no more present then was Banquo's ghost to the guests of Macbeth. Macbeth's individual conscience made him see the ghost; nay, by a creative potency summoned it: and so is beauty created there where, without what I may call the aesthetic conscience, it no more exists than do the glories of t.i.tian and Claude to the affectionate spaniel who follows his master into a picture-gallery. To the quadruped, by the organic limitation of his nature, dead forever is this painted life. By the organic boundlessness of _his_ nature, man can grasp the life of creation in its highest, its finest, its grandest manifestations; and from these beauty is indivisible.

Wherever the divine energy is most subtle and expressive, there glows ever, in its celestial freshness, the beautiful.

Beauty is the happiest marriage between the invisible and the visible.

It may be termed the joyfullest look of G.o.d. Blessed is he who can watch and reflect this radiant look. The faculties of such a one become fortified by creative influx. Through the exquisite shock of the beautiful he reaps an accession of mental magnetism. Thus through the beautiful we commune the most directly with the divine; and, other things being equal, to the degree that men respond to, are thrilled by, this vivacity of divine presence, as announced by the beautiful, to that degree are they elevated in the scale of being.

Nature being minute and absolute in subdivision of function, the law of severalty and independence--than which there is no law more important and instructive--pervades creation. Thence the intellectual, the religious, the true, the good, cannot interchange functions. A man may be sincerely religious and do little for others, as is seen in anchorites, and in many one-sided people, of Christian as well as of Mahometan parentage, who are not anchorites. A man may be immensely intellectual and not value truth. But neither a man's intellect, nor his preference for truth, nor his benevolent nor his religious sentiment, can yield its best fruit without the sunshine of the beautiful. Sensibility to the beautiful--itself, like the others, an independent inward power--stands to each one of them in a relation different from that which they hold one to the other. The above and other faculties _indirectly_ aid one the other, and to the complete man their united action is needed; but feeling for the beautiful _directly_ aids each one, aids by stimulating it, by expanding, by purifying.

To the action of every other faculty this one gives vividness and grace. It indues each with privilege of insight into the _soul_ of the object which it is its special office to master. By help of sensibility to the beautiful we have inklings of the essence of things, we sympathize with the inward life that molds the outward form. Hence men highly gifted with this sensibility become creative, in whatever province of work they strive; and no man in any province is truly creative except through the subtle energy imparted to him by this sensibility, this competence to feel the invisible in the visible.

The idea is the invisible; the embodiment thereof is the visible.

Hence the beautiful is always ideal; that is, it enfolds, embraces, represents, with more or less success, the idea out of which springs the object it illuminates: it brilliantly enrobes a germinal essence. It is thus a sparkling emanation out of the Infinite, and it leads us thither whence it has come.

Sensibility to the beautiful is thus the light of the whole mind, illuminating its labors. Without it we work in the dark, and therefore feebly, defectively. Infer thence the immensity of its function.

Hereby it becomes the chief educator of men and of man; and where its teaching has not been conspicuous, there no elevation has been reached. The Greeks and the Hebrews would not have been so deeply, so greatly, so feelingly known to us, would not have been the pioneers and inspirers of European civilization, would not have lived on through thousands of years in the minds of the highest men, had they not, along with their other rare endowments, possessed, in superior, in unique quality, this priceless gift of sensibility to the beautiful. Through this gift Shakespeare is the foremost man of England, and through it has done more than any other man to educate and elevate England. Because the Italians of the fourteenth and fifteenth centuries were so rich in this gift, therefore it is that Italy is still a shrine to which the civilized world makes annual pilgrimage.

The supreme function of this sensibility is to develop, to educate, to chasten the highest faculties, our vast discourse of reason, our unselfish aspiration, our deep instinct of truth, our capacious love. To educate these is its cardinal duty, and lacking this they remain uneducated. But its beneficent influence is felt likewise in the less elevated of our efforts. The man who makes shoes, as well as he who makes laws and he who makes poems; the builder of houses, with the builder of theologies or cosmogonies; the engineer, as well as the artist, all work under the rays of this illuminator; and, other things being equal, he excels all others on whose work those rays shine with the most sustained and penetrative force.

"'T is the eternal law, That first in beauty shall be first in might."[2]

[2] Keats.

In short, whatever the mental gift, in order to get from that gift its best fruit, the possessor must be incited, upborne, enlightened, inspired by the ideal, which burns as a transfiguring flame in his mind, and throws thence its joyful light with every blow of his hand.

All good work is more or less creative, that is, a co-working with the eternal mind; and work is good and productive in proportion to the intensity of this cooperation. Why is it that we so prize a fragment of Phidias, a few lines traced by Raphael? Because the minds of those workers were, more than the minds of most others, in sympathy with the Infinite mind. While at work their hands were more distinctly guided by the Almighty hand; they felt and embodied more of the spirit which makes, which is, life.

Here is a frame of canvas, a block of marble, a pile of stones, a vocabulary. Of the canvas you make a screen, you build a dwelling with the pile of stones, chisel a door-sill out of the block, with the vocabulary you write an essay. And in each case you work well and creatively, if your work be in harmony with G.o.d's laws, if your screen be light, sightly, and protective, your dwelling healthful and commodious, your sill lie solid and square, your essay be judicious and sound. But if on the canvas you have a Christ's head by Leonardo, out of the pile of stones a Strasburg Cathedral, from the block of marble a Venus of Milo, with the vocabulary a tragedy of Hamlet, you have works which are so creative that they tell on the mind with the vivid, impressive, instructive, never-wearying delight of the works of nature. The men who wrought them were strong to do so through the vigor of their sympathy with what Plato calls the formative principle of the universe, they thereby becoming themselves creators, that is, poets. And we sacredly guard their creations among our best treasures of human gift, because they are so spiritually alive that whenever we put ourselves in relation with them they animate us, they spiritualize our thoughts; and this they do because the minds whence they issued were radiant centers of ideal power, that is, power to conceive the beautiful.

But what is ideal power? the reader may ask. He might likewise ask, What is moral power? And unless he has in his own mind some faculty of moral estimation, no answer will help him. That which comes to us through feeling cannot be intellectually defined, can only be appreciated through feeling. By describing its effects and accompaniments we approach to a knowledge of what it is. By means of a foot-rule you can make clear to every member of a crowd what is the height of the Apollo Belvedere, and the exact length of the statue's face; and each one can for himself verify the accuracy of your statement. But not with a like distinctness and vivacity of a.s.sent can you get the crowd to go along with you as to the Apollo's beauty.

Acknowledgment of the beautiful in art implies a degree of culture and a native susceptibility not to be found in every accidental gathering.

Full and sincere a.s.sent to your declaration that the statue is very beautiful presupposes a high ideal in the mind; that is, a lofty pre-attained idea of what is manly beauty. But after all, the want of unanimity of a.s.sent to a moral or an aesthetic position, does it not come from the difficulty and subtlety of the idea to be pre-attained?

a.s.sent even to an intellectual proposition, does not it too presuppose an ideal in the mind of him who a.s.sents? When you show by visible measurement that the statue is eight feet high, whoever understands what you mean must have already in his head the idea of what one foot is; that is, he must carry within him an ideal. No t.i.ttle of information, not the slightest accession of knowledge, will you derive from the measurement even of the area of a hall or of the cubic contents of a block, unless you bring with you in your mind an idea, an ideal, of what is a superficial or a cubic square foot.

Attempts to give a notion of what the beautiful is, by enumerating some of the physical conditions that are found to be present in artistic figures or persons distinguished for beauty, or attempts to produce what shall be beautiful, by complying with these conditions, come no nearer to the aim than do compounded mineral waters to the briskness and flavor of a fresh draught from the original spring. In the a.n.a.lysis there may be no flaw; the ingredients are chemically identical in quality and proportion; but the nameless, inimitable, inscrutable life is wanting: the mixing has been done by a mechanical, not by a creative hand. Haydon says, "The curve of the circle is excess, the straight line is deficiency, the ellipsis is the degree between, and that curve, added to or united with proportion, regulates the form and features of a perfect woman." Mr. D.R. Hay, in a series of books, professes to have discovered the principles of beauty in the law of harmonic ratio, without, however, "pretending,"

as he modestly and wisely declares, "to give rules for that kind of beauty which genius alone can produce in high art." The discovery of Mr. Hay is curious and fascinating, and, like the announcement of Haydon, may give practical hints to artists and others. But no intellectual process or ingenuity can make up for the absence of emotional warmth and refined selection. "Beauty, the foe of excess and vacuity, blooms, like genius, in the equilibrium of all the forces,"

says Jean Paul. "Beauty," says Hemsterhuis, "is the product of the greatest number of ideas in the shortest time," which is like the Italian definition, _il piu nel uno_, unity in multiplicity, believed by Coleridge to contain the principle of beauty. On another page of the "Table Talk" Coleridge is made to say, "You are wrong in resolving beauty into expression or interest; it is quite distinct; indeed, it is opposite, although not contrary. Beauty is an immediate presence, between which and the beholder _nihil est_. It is always one and tranquil; whereas the interesting always disturbs and is disturbed."

Hegel, in his "aesthetic," defines natural beauty to be "the idea as immediate unity, in so far as this unity is visible in sensuous reality." And a few pages earlier he is more brief and distinct, calling the beautiful "the sensuous shining forth of the idea." And Sch.e.l.ling, in his profound treatise on "The Relation of the Plastic Arts to Nature," says, "The beautiful is beyond form; it is substance, the universal; it is the look and expression of the spirit of Nature." Were it not better and more precise to say that it is to us the look and expression of the spiritual when this is peering through choicest embodiments? But we will stop with definitions. After endeavoring, by means of sentences and definitions to get a notion of the beautiful, one is tempted to say, as Goethe did when "the idea of the Divinity" was venturously mentioned to him by Eckermann, "Dear child, what know we of the idea of the Divinity? and what can our narrow ideas tell of the Highest Being? Should I, like a Turk, name it with a hundred names, I should still fall short, and, in comparison with the infinite attributes, have said nothing."