The Life of Reason Part 46

The fabled dove who complained, in flying, of the resistance of the air, was as wise as the philosopher who should lament the presence and influence of sense. Sense is the native element and substance of experience; all its refinements are still parts of it existentially; and whatever excellence belongs specifically to sense is a preliminary excellence, a value antecedent to any which thought or action can achieve. Science and morals have but representative authority; they are principles of ideal synthesis and safe transition; they are bridges from moment to moment of sentience. Their function is indeed universal and their value overwhelming, yet their office remains derivative or secondary, and what they serve to put in order has previously its intrinsic worth. An aesthetic bias is native to sense, being indeed nothing but its form and potency; and the influence which aesthetic habits exercise on thought and action should not be regarded as an intrusion to be resented, but rather as an original interest to be built upon and developed. Sensibility contains the distinctions which reason afterward carries out and applies; it is sensibility that involves and supports primitive diversities, such as those between good and bad, here and there, fast and slow, light and darkness. There are complications and harmonies inherent in these oppositions, harmonies which aesthetic faculty proceeds to note; and from these we may then construct others, not immediately presentable, which we distinguish by attributing them to reason. Reason may well outflank and transform aesthetic judgments, but can never undermine them. Its own materials are the perceptions which if full and perfect are called beauties. Its function is to endow the parts of sentience with a consciousness of the system in which they lie, so that they may attain a mutual relevance and ideally support one another.

But what could relevance or support be worth if the things to be b.u.t.tressed were themselves worthless? It is not to organise pain, ugliness, and boredom that reason can be called into the world.

[Sidenote: To superpose them advent.i.tiously is to destroy them.]

When a practical or scientific man boasts that he has laid aside aesthetic prejudices and is following truth and utility with a single eye, he can mean, if he is judicious, only that he has not yielded to aesthetic preference after his problem was fixed, nor in an arbitrary and vexatious fashion. He has not consulted taste when it would have been in bad taste to do so. If he meant that he had rendered himself altogether insensible to aesthetic values, and that he had proceeded to organise conduct or thought in complete indifference to the beautiful, he would be simply proclaiming his inhumanity and incompetence. A right observance of aesthetic demands does not obstruct utility nor logic; for utility and logic are themselves beautiful, while a sensuous beauty that ran counter to reason could never be, in the end, pleasing to an exquisite sense. aesthetic vice is not favourable to aesthetic faculty: it is an impediment to the greatest aesthetic satisfactions. And so when by yielding to a blind pa.s.sion for beauty we derange theory and practice, we cut ourselves off from those beauties which alone could have satisfied our pa.s.sion. What we drag in so obstinately will bring but a cheap and unstable pleasure, while a double beauty will thereby be lost or obscured--first, the unlooked-for beauty which a genuine and stable system of things could not but betray, and secondly the coveted beauty itself, which, being imported here into the wrong context, will be rendered meretricious and offensive to good taste. If a jewel worn on the wrong finger sends a shiver through the flesh, how disgusting must not rhetoric be in diplomacy or unction in metaphysics!

[Sidenote: They flow naturally from perfect function.]

The poetic element inherent in thought, affection, and conduct is prior to their prosaic development and altogether legitimate. Clear, well-digested perception and rational choices follow upon those primary creative impulses, and carry out their purpose systematically. At every stage in this development new and appropriate materials are offered for aesthetic contemplation. Straightness, for instance, symmetry, and rhythm are at first sensuously defined; they are characters arrested by aesthetic instinct; but they are the materials of mathematics. And long after these initial forms have disowned their sensuous values, and suffered a wholly dialectical expansion or a.n.a.lysis, mathematical objects again fall under the aesthetic eye, and surprise the senses by their emotional power. A mechanical system, such as astronomy in one region has already unveiled, is an inexhaustible field for aesthetic wonder. Similarly, in another sphere, sensuous affinity leads to friendship and love, and makes us huddle up to our fellows and feel their heart-beats; but when human society has thereupon established a legal and moral edifice, this new spectacle yields new imaginative transports, tragic, lyric, and religious. aesthetic values everywhere precede and accompany rational activity, and life is, in one aspect, always a fine art; not by introducing inaptly aesthetic vetoes or aesthetic flourishes, but by giving to everything a form which, implying a structure, implies also an ideal and a possible perfection. This perfection, being felt, is also a beauty, since any process, though it may have become intellectual or practical, remains for all that a vital and sentient operation, with its inherent sensuous values. Whatever is to be representative in import must first be immediate in existence; whatever is transitive in operation must be at the same time actual in being. So that an aesthetic sanction sweetens all successful living; animal efficiency cannot be without grace, nor moral achievement without a sensible glory.

[Sidenote: Even inhibited functions, when they fall into a new rhythm, yield new beauties.]

These vital harmonies are natural; they are neither perfect nor preordained. We often come upon beauties that need to be sacrificed, as we come upon events and practical necessities without number that are truly regrettable. There are a myriad conflicts in practice and in thought, conflicts between rival possibilities, knocking inopportunely and in vain at the door of existence. Owing to the initial disorganisation of things, some demands continually prove to be incompatible with others arising no less naturally. Reason in such cases imposes real and irreparable sacrifices, but it brings a stable consolation if its discipline is accepted. Decay, for instance, is a moral and aesthetic evil; but being a natural necessity it can become the basis for pathetic and magnificent harmonies, when once imagination is adjusted to it. The hatred of change and death is ineradicable while life lasts, since it expresses that self-sustaining organisation in a creature which we call its soul; yet this hatred of change and death is not so deeply seated in the nature of things as are death and change themselves, for the flux is deeper than the ideal. Discipline may attune our higher and more adaptable part to the harsh conditions of being, and the resulting sentiment, being the only one which can be maintained successfully, will express the greatest satisfactions which can be reached, though not the greatest that might be conceived or desired. To be interested in the changing seasons is, in this middling zone, a happier state of mind than to be hopelessly in love with spring. Wisdom discovers these possible accommodations, as circ.u.mstances impose them; and education ought to prepare men to accept them.

[Sidenote: He who loves beauty must chasten it.]

It is for want of education and discipline that a man so often insists petulantly on his random tastes, instead of cultivating those which might find some satisfaction in the world and might produce in him some pertinent culture. Untutored self-a.s.sertion may even lead him to deny some fact that should have been patent, and plunge him into needless calamity. His Utopias cheat him in the end, if indeed the barbarous taste he has indulged in clinging to them does not itself lapse before the dream is half formed. So men have feverishly conceived a heaven only to find it insipid, and a h.e.l.l to find it ridiculous. Theodicies that were to demonstrate an absolute cosmic harmony have turned the universe into a tyrannous nightmare, from which we are glad to awake again in this unintentional and somewhat tractable world. Thus the fancies of effeminate poets in violating science are false to the highest art, and the products of sheer confusion, instigated by the love of beauty, turn out to be hideous. A rational severity in respect to art simply weeds the garden; it expresses a mature aesthetic choice and opens the way to supreme artistic achievements. To keep beauty in its place is to make all things beautiful.

CHAPTER X

THE CRITERION OF TASTE

[Sidenote: Dogmatism is inevitable but may be enlightened.]

Dogmatism in matters of taste has the same status as dogmatism in other spheres. It is initially justified by sincerity, being a systematic expression of a man's preferences; but it becomes absurd when its basis in a particular disposition is ignored and it pretends to have an absolute or metaphysical scope. Reason, with the order which in every region it imposes on life, is grounded on an animal nature and has no other function than to serve the same; and it fails to exercise its office quite as much when it oversteps its bounds and forgets whom it is serving as when it neglects some part of its legitimate province and serves its master imperfectly, without considering all his interests.

Dialectic, logic, and morals lose their authority and become inept if they trespa.s.s upon the realm of physics and try to disclose existences; while physics is a mere idea in the realm of poetic meditation. So the notorious diversities which human taste exhibits do not become conflicts, and raise no moral problem, until their basis or their function has been forgotten, and each has claimed a right to a.s.sert itself exclusively. This claim is altogether absurd, and we might fail to understand how so preposterous an att.i.tude could be a.s.sumed by anybody did we not remember that every young animal thinks himself absolute, and that dogmatism in the thinker is only the speculative side of greed and courage in the brute. The brute cannot surrender his appet.i.tes nor abdicate his primary right to dominate his environment.

What experience and reason may teach him is merely how to make his self-a.s.sertion well balanced and successful. In the same way taste is bound to maintain its preferences but free to rationalise them. After a man has compared his feelings with the no less legitimate feelings of other creatures, he can rea.s.sert his own with more complete authority, since now he is aware of their necessary ground in his nature, and of their affinities with whatever other interests his nature enables him to recognise in others and to co-ordinate with his own.

[Sidenote: Taste gains in authority as it is more and more widely based.]

A criterion of taste is, therefore, nothing but taste itself in its more deliberate and circ.u.mspect form. Reflection refines particular sentiments by bringing them into sympathy with all rational life. There is consequently the greatest possible difference in authority between taste and taste, and while delight in drums and eagle's feathers is perfectly genuine and has no cause to blush for itself, it cannot be compared in scope or representative value with delight in a symphony or an epic. The very instinct that is satisfied by beauty prefers one beauty to another; and we have only to question and purge our aesthetic feelings in order to obtain our criterion of taste. This criterion will be natural, personal, autonomous; a circ.u.mstance that will give it authority over our own judgment--which is all moral science is concerned about--and will extend its authority over other minds also, in so far as their const.i.tution is similar to ours. In that measure what is a genuine instance of reason in us, others will recognise for a genuine expression of reason in themselves also.

[Sidenote: Different aesthetic endowments may be compared in quant.i.ty or force.]

aesthetic feeling, in different people, may make up a different fraction of life and vary greatly in volume. The more nearly insensible a man is the more incompetent he becomes to proclaim the values which sensibility might have. To beauty men are habitually insensible, even while they are awake and rationally active. Tomes of aesthetic criticism hang on a few moments of real delight and intuition. It is in rare and scattered instants that beauty smiles even on her adorers, who are reduced for habitual comfort to remembering her past favours. An aesthetic glow may pervade experience, but that circ.u.mstance is seldom remarked; it figures only as an influence working subterraneously on thoughts and judgments which in themselves take a cognitive or practical direction. Only when the aesthetic ingredient becomes predominant do we exclaim, How beautiful! Ordinarily the pleasures which formal perception gives remain an undistinguished part of our comfort or curiosity.

[Sidenote: Authority of vital over verbal judgments]

Taste is formed in those moments when aesthetic emotion is ma.s.sive and distinct; preferences then grown conscious, judgments then put into words, will reverberate through calmer hours; they will const.i.tute prejudices, habits of apperception, secret standards for all other beauties. A period of life in which such intuitions have been frequent may ama.s.s tastes and ideals sufficient for the rest of our days. Youth in these matters governs maturity, and while men may develop their early impressions more systematically and find confirmations of them in various quarters, they will seldom look at the world afresh or use new categories in deciphering it. Half our standards come from our first masters, and the other half from our first loves. Never being so deeply stirred again, we remain persuaded that no objects save those we then discovered can have a true sublimity. These high-water marks of aesthetic life may easily be reached under tutelage. It may be some eloquent appreciations read in a book, or some preference expressed by a gifted friend, that may have revealed unsuspected beauties in art or nature; and then, since our own perception was vicarious and obviously inferior in volume to that which our mentor possessed, we shall take his judgments for our criterion, since they were the source and exemplar of all our own. Thus the volume and intensity of some appreciations, especially when nothing of the kind has preceded, makes them authoritative over our subsequent judgments. On those warm moments hang all our cold systematic opinions; and while the latter fill our days and shape our careers it is only the former that are crucial and alive.

A race which loves beauty holds the same place in history that a season of love or enthusiasm holds in an individual life. Such a race has a pre-eminent right to p.r.o.nounce upon beauty and to bequeath its judgments to duller peoples. We may accordingly listen with reverence to a Greek judgment on that subject, expecting that what might seem to us wrong about it is the expression of knowledge and pa.s.sion beyond our range; it will suffice that we learn to live in the world of beauty, instead of merely studying its relics, for us to understand, for instance, that imitation is a fundamental principle in art, and that any rational judgment on the beautiful must be a moral and political judgment, enveloping chance aesthetic feelings and determining their value. What most German philosophers, on the contrary, have written about art and beauty has a minimal importance: it treats artificial problems in a grammatical spirit, seldom giving any proof of experience or imagination. What painters say about painting and poets about poetry is better than lay opinion; it may reveal, of course, some petty jealousy or some partial incapacity, because a special gift often carries with it complementary defects in apprehension; yet what is positive in such judgments is founded on knowledge and avoids the romancing into which litterateurs and sentimentalists will gladly wander. The specific values of art are technical values, more permanent and definite than the advent.i.tious a.n.a.logies on which a stray observer usually bases his views. Only a technical education can raise judgments on musical compositions above impertinent auto-biography. The j.a.panese know the beauty of flowers, and tailors and dressmakers have the best sense for the fashions. We ask them for suggestions, and if we do not always take their advice, it is not because the fine effects they love are not genuine, but because they may not be effects which we care to produce.

[Sidenote: Tastes differ also in purity or consistency.]

This touches a second consideration, besides the volume and vivacity of feeling, which enters into good taste. What is voluminous may be inwardly confused or outwardly confusing. Excitement, though on the whole and for the moment agreeable, may verge on pain and may be, when it subsides a little, a cause of bitterness. A thing's attractions may be partly at war with its ideal function. In such a case what, in our haste, we call a beauty becomes hateful on a second view, and according to the key of our dissatisfaction we p.r.o.nounce that effect meretricious, harsh, or affected. These discords appear when elaborate things are attempted without enough art and refinement; they are essentially in bad taste. Rudimentary effects, on the contrary, are pure, and though we may think them trivial when we are expecting something richer, their defect is never intrinsic; they do not plunge us, as impure excitements do, into a corrupt artificial conflict. So wild-flowers, plain chant, or a scarlet uniform are beautiful enough; their simplicity is a positive merit, while their crudity is only relative. There is a touch of sophistication and disease in not being able to fall back on such things and enjoy them thoroughly, as if a man could no longer relish a gla.s.s of water. Your true epicure will study not to lose so genuine a pleasure.

Better forego some artificial stimulus, though that, too, has its charm, than become insensible to natural joys. Indeed, ability to revert to elementary beauties is a test that judgment remains sound.

Vulgarity is quite another matter. An old woman in a blonde wig, a dirty hand covered with jewels, ostentation without dignity, rhetoric without cogency, all offend by an inner contradiction. To like such things we should have to surrender our better intuitions and suffer a kind of dishonour. Yet the elements offensively combined may be excellent in isolation, so that an untrained or torpid mind will be at a loss to understand the critic's displeasure. Oftentimes barbaric art almost succeeds, by dint of splendour, in banishing the sense of confusion and absurdity; for everything, even reason, must bow to force. Yet the impression remains chaotic, and we must be either partly inattentive or partly distressed. Nothing could show better than this alternative how mechanical barbaric art is. Driven by blind impulse or tradition, the artist has worked in the dark. He has dismissed his work without having quite understood it or really justified it to his own mind. It is rather his excretion than his product. Astonished, very likely, at his own fertility, he has thought himself divinely inspired, little knowing that clear reason is the highest and truest of inspirations. Other men, observing his obscure work, have then honoured him for profundity; and so mere bulk or stress or complexity have produced a mystical wonder by which generation after generation may be enthralled. Barbaric art is half necromantic; its ascendancy rests in a certain measure on bewilderment and fraud.

To purge away these impurities nothing is needed but quickened intelligence, a keener spiritual flame. Where perception is adequate, expression is so too, and if a man will only grow sensitive to the various solicitations which anything monstrous combines, he will thereby perceive its monstrosity. Let him but enact his sensations, let him pause to make explicit the confused hints that threaten to stupefy him; he will find that he can follow out each of them only by rejecting and forgetting the others. To free his imagination in any direction he must disengage it from the contrary intent, and so he must either purify his object or leave it a ma.s.s of confused promptings. Promptings essentially demand to be carried out, and when once an idea has become articulate it is not enriched but destroyed if it is still identified with its contrary. Any complete expression of a barbarous theme will, therefore, disengage its incompatible elements and turn it into a number of rational beauties.

[Sidenote: They differ, finally, in pertinence, and in width of appeal.]

When good taste has in this way purified and digested some turgid medley, it still has a progress to make. Ideas, like men, live in society. Not only has each a will of its own and an inherent ideal, but each finds itself conditioned for its expression by a host of other beings, on whose co-operation it depends. Good taste, besides being inwardly clear, has to be outwardly fit. A monstrous ideal devours and dissolves itself, but even a rational one does not find an immortal embodiment simply for being inwardly possible and free from contradiction. It needs a material basis, a soil and situation propitious to its growth. This basis, as it varies, makes the ideal vary which is simply its expression; and therefore no ideal can be ultimately fixed in ignorance of the conditions that may modify it. It subsists, to be sure, as an eternal possibility, independently of all further earthly revolutions. Once expressed, it has revealed the inalienable values that attach to a certain form of being, whenever that form is actualised. But its expression may have been only momentary, and that eternal ideal may have no further relevance to the living world. A criterion of taste, however, looks to a social career; it hopes to educate and to judge. In order to be an applicable and a just law, it must represent the interests over which it would preside.

There are many undiscovered ideals. There are many beauties which nothing in this world can embody or suggest. There are also many once suggested or even embodied, which find later their basis gone and evaporate into their native heaven. The saddest tragedy in the world is the destruction of what has within it no inward ground of dissolution, death in youth, and the crushing out of perfection. Imagination has its bereavements of this kind. A complete mastery of existence achieved at one moment gives no warrant that it will be sustained or achieved again at the next. The achievement may have been perfect; nature will not on that account stop to admire it. She will move on, and the meaning which was read so triumphantly in her momentary att.i.tude will not fit her new posture. Like Polonius's cloud, she will always suggest some new ideal, because she has none of her own.

In lieu of an ideal, however, nature has a const.i.tution, and this, which is a necessary ground for ideals, is what it concerns the ideal to reckon with. A poet, spokesman of his full soul at a given juncture, cannot consider eventualities or think of anything but the message he is sent to deliver, whether the world can then hear it or not. G.o.d, he may feel sure, understands him, and in the eternal the beauty he sees and loves immortally justifies his enthusiasm. Nevertheless, critics must view his momentary ebullition from another side. They do not come to justify the poet in his own eyes; he amply relieves them, of such a function. They come only to inquire how significant the poet's expressions are for humanity at large or for whatever public he addresses. They come to register the social or representative value of the poet's soul. His inspiration may have been an odd cerebral rumbling, a perfectly irrecoverable and wasted intuition; the exquisite quality it doubtless had to his own sense is now not to the purpose. A work of art is a public possession; it is addressed to the world. By taking on a material embodiment, a spirit solicits attention and claims some kinship with the prevalent G.o.ds. Has it, critics should ask, the affinities needed for such intercourse? Is it humane, is it rational, is it representative? To its inherent incommunicable charms it must add a kind of courtesy. If it wants other approval than its own, it cannot afford to regard no other aspiration.

This scope, this representative faculty or wide appeal, is necessary to good taste. All authority is representative; force and inner consistency are gifts on which I may well congratulate another, but they give him no right to speak for me. Either aesthetic experience would have remained a chaos--which it is not altogether--or it must have tended to conciliate certain general human demands and ultimately all those interests which its operation in any way affects. The more conspicuous and permanent a work of art is, the more is such an adjustment needed. A poet or philosopher may be erratic and a.s.sure us that he is inspired; if we cannot well gainsay it, we are at least not obliged to read his works.

An architect or a sculptor, however, or a public performer of any sort, that thrusts before us a spectacle justified only in his inner consciousness, makes himself a nuisance. A social standard of taste must a.s.sert itself here, or else no efficacious and c.u.mulative art can exist at all. Good taste in such matters cannot abstract from tradition, utility, and the temper of the world. It must make itself an interpreter of humanity and think esoteric dreams less beautiful than what the public eye might conceivably admire.

[Sidenote: Art may grow cla.s.sic by idealising the familiar.]

There are various affinities by which art may acquire a representative or cla.s.sic quality. It may do so by giving form to objects which everybody knows, by rendering experiences that are universal and primary. The human figure, elementary pa.s.sions, common types and crises of fate--these are facts which pa.s.s too constantly through apperception not to have a normal aethetic value. The artist who can catch that effect in its fulness and simplicity accordingly does immortal work. This sort of art immediately becomes popular; it pa.s.ses into language and convention so that its aesthetic charm is apparently worn down. The old images after a while hardly stimulate unless they be presented in some paradoxical way; but in that case attention will be diverted to the accidental extravagance, and the chief cla.s.sic effect will be missed. It is the honourable fate or euthanasia of artistic successes that they pa.s.s from the field of professional art altogether and become a portion of human faculty. Every man learns to be to that extent an artist; approved figures and maxims pa.s.s current like the words and idioms of a mother-tongue, themselves once brilliant inventions. The l.u.s.tre of such successes is not really dimmed, however, when it becomes a part of man's daily light; a retrogression from that habitual style or habitual insight would at once prove, by the shock it caused, how precious those ingrained apperceptions continued to be.

[Sidenote: or by reporting the ultimate.]

Universality may also be achieved, in a more heroic fashion, by art that expresses ultimate truths, cosmic laws, great human ideals. Virgil and Dante are cla.s.sic poets in this sense, and a similar quality belongs to Greek sculpture and architecture. They may not cause enthusiasm in everybody; but in the end experience and reflection renew their charm; and their greatness, like that of high mountains, grows more obvious with distance. Such eminence is the reward of having accepted discipline and made the mind a clear anagram of much experience. There is a great difference between the depth of expression so gained and richness or realism in details. A supreme work presupposes minute study, sympathy with varied pa.s.sions, many experiments in expression; but these preliminary things are submerged in it and are not displayed side by side with it, like the foot-notes to a learned work, so that the ignorant may know they have existed.

Some persons, themselves inattentive, imagine, for instance, that Greek sculpture is abstract, that it has left out all the detail and character which they cannot find on the surface, as they might in a modern work.

In truth it contains those features, as it were, in solution and in the resultant which, when reduced to harmony, they would produce. It embodies a finished humanity which only varied exercises could have attained, for as the body is the existent ground for all possible actions, in which as actions they exist only potentially, so a perfect body, such as a sculptor might conceive, which ought to be ready for all excellent activities, cannot present them all in act but only the readiness for them. The features that might express them severally must be absorbed and mastered, hidden like a sword in its scabbard, and reduced to a general dignity or grace. Though such immersed eloquence be at first overlooked and seldom explicitly acknowledged, homage is nevertheless rendered to it in the most unmistakable ways. When lazy artists, backed by no great technical or moral discipline, think they, too, can produce masterpieces by summary treatment, their failure shows how pregnant and supreme a thing simplicity is. Every man, in proportion to his experience and moral distinction, returns to the simple but inexhaustible work of finished minds, and finds more and more of his own soul responsive to it.

Human nature, for all its margin of variability, has a substantial core which is invariable, as the human body has a structure which it cannot lose without perishing altogether; for as creatures grow more complex a greater number of their organs become vital and indispensable. Advanced forms will rather die than surrender a t.i.ttle of their character; a fact which is the physical basis for loyalty and martyrdom. Any deep interpretation of oneself, or indeed of anything, has for that reason a largely representative truth. Other men, if they look closely, will make the same discovery for themselves. Hence distinction and profundity, in spite of their rarity, are wont to be largely recognised. The best men in all ages keep cla.s.sic traditions alive. These men have on their side the weight of superior intelligence, and, though they are few, they might even claim the weight of numbers, since the few of all ages, added together, may be more than the many who in any one age follow a temporary fashion. Cla.s.sic work is nevertheless always national, or at least characteristic of its period, as the cla.s.sic poetry of each people is that in which its language appears most pure and free. To translate it is impossible; but it is easy to find that the human nature so inimitably expressed in each masterpiece is the same that, under different circ.u.mstance, dictates a different performance. The deviations between races and men are not yet so great as is the ignorance of self, the blindness to the native ideal, which prevails in most of them. Hence a great man of a remote epoch is more intelligible than a common man of our own time.

[Sidenote: Good taste demands that art should be rational, _i.e._, harmonious with all other interests.]

Both elementary and ultimate judgments, then, contribute to a standard of taste; yet human life lies between these limits, and an art which is to be truly adjusted to life should speak also for the intermediate experience. Good taste is indeed nothing but a name for those appreciations which the swelling incidents of life recall and reinforce. Good taste is that taste which is a good possession, a friend to the whole man. It must not alienate him from anything except to ally him to something greater and more fertile in satisfactions. It will not suffer him to dote on things, however seductive, which rob him of some n.o.bler companionship. To have a foretaste of such a loss, and to reject instinctively whatever will cause it, is the very essence of refinement.

Good taste comes, therefore, from experience, in the best sense of that word; it comes from having united in one's memory and character the fruit of many diverse undertakings. Mere taste is apt to be bad taste, since it regards nothing but a chance feeling. Every man who pursues an art may be presumed to have some sensibility; the question is whether he has breeding, too, and whether what he stops at is not, in the end, vulgar and offensive. Chance feeling needs to fortify itself with reasons and to find its level in the great world. When it has added fitness to its sincerity, beneficence to its pa.s.sion, it will have acquired a right to live. Violence and self-justification will not pa.s.s muster in a moral society, for vipers possess both, and must nevertheless be stamped out. Citizenship is conferred only on creatures with human and co-operative instincts. A civilised imagination has to understand and to serve the world.

The great obstacle which art finds in attempting to be rational is its functional isolation. Sense and each of the pa.s.sions suffers from a similar independence. The disarray of human instincts lets every spontaneous motion run too far; life oscillates between constraint and unreason. Morality too often puts up with being a constraint and even imagines such a disgrace to be its essence. Art, on the contrary, as often hugs unreason for fear of losing its inspiration, and forgets that it is itself a rational principle of creation and order. Morality is thus reduced to a necessary evil and art to a vain good, all for want of harmony among human impulses. If the pa.s.sions arose in season, if perception fed only on those things which action should be adjusted to, turning them, while action proceeded, into the substance of ideas--then all conduct would be voluntary and enlightened, all speculation would be practical, all perceptions beautiful, and all operations arts. The Life of Reason would then be universal.

To approach this ideal, so far as art is concerned, would involve diffusing its processes and no longer confining them to a set of dead and unproductive objects called works of art.

[Sidenote: A mere "work of art" a baseless artifice.]

Why art, the most vital and generative of activities, should produce a set of abstract images, monuments to lost intuitions, is a curious mystery. Nature gives her products life, and they are at least equal to their sources in dignity. Why should mind, the actualisation of nature's powers, produce something so inferior to itself, reverting in its expression to material being, so that its witnesses seem so many fossils with which it strews its path? What we call museums--mausoleums, rather, in which a dead art heaps up its remains--are those the places where the Muses intended to dwell? We do not keep in show-cases the coins current in the world. A living art does not produce curiosities to be collected but spiritual necessaries to be diffused.

Artificial art, made to be exhibited, is something gratuitous and sophisticated, and the greater part of men's concern about it is affectation. There is a genuine pleasure in planning a work, in modelling and painting it; there is a pleasure in showing it to a sympathetic friend, who a.s.sociates himself in this way with the artist's technical experiment and with his interpretation of some human episode; and there might be a satisfaction in seeing the work set up in some appropriate s.p.a.ce for which it was designed, where its decorative quality might enrich the scene, and the curious pa.s.ser-by might stop to decipher it. The pleasures proper to an ingenuous artist are spontaneous and human; but his works, once delivered to his patrons, are household furniture for the state. Set up to-day, they are outworn and replaced to-morrow, like trees in the parks or officers in the government. A community where art was native and flourishing would have an uninterrupted supply of such ornaments, furnished by its citizens in the same modest and cheerful spirit in which they furnish other commodities. Every craft has its dignity, and the decorative and monumental crafts certainly have their own; but such art is neither singular nor pre-eminent, and a statesman or reformer who should raise somewhat the level of thought or practice in the state would do an infinitely greater service.

[Sidenote: Human uses give to works of art their highest expression and charm.]

The joys of creating are not confined, moreover, to those who create things without practical uses. The merely aesthetic, like rhyme and fireworks, is not the only subject that can engage a playful fancy or be planned with a premonition of beautiful effects. Architecture may be useful, sculpture commemorative, poetry reflective, even, music, by its expression, religious or martial. In a word, practical exigencies, in calling forth the arts, give them moral functions which it is a pleasure to see them fulfil. Works may not be aesthetic in their purpose, and yet that fact may be a ground for their being doubly delightful in execution and doubly beautiful in effect. A richer plexus of emotions is concerned in producing or contemplating something humanly necessary than something idly conceived. What is very rightly called a _sense_ for fitness is a vital experience, involving aesthetic satisfactions and aesthetic shocks.

The more numerous the rational harmonies are which are present to the mind, the more sensible movements will be going on there to give immediate delight; for the perception or expectation of an ulterior good is a present good also. Accordingly nothing can so well call forth or sustain attention as what has a complex structure relating it to many complex interests. A work woven out of precious threads has a deep pertinence and glory; the artist who creates it does not need to surrender his practical and moral sense in order to indulge his imagination.