The Psychology of Beauty Part 10

II

Now the word is nothing in itself; it is not sound primarily, but thought. The word is but a sign, a negligible quant.i.ty in human intercourse--a counter in which the coins are ideas and emotions--merely legal tender, of no value save in exchange. What we really experience in the sound of a sentence, in the sight of a printed page, is a complex sequence of visual and other images, ideas, emotions, feelings, logical relations, swept along in the stream of consciousness, --differing, indeed, in certain ways from daily experience, but yet primarily of the web of life itself. The words in their nuances, march, tempo, melody add certain elements to this flood--hasten, r.e.t.a.r.d, undulate, or calm it; but it is the THOUGHT, the understood experience, that is the stuff of literature.

Words are first of all meanings, and meanings are to be understood and lived through. We can hardly even speak of the meaning of a word, but rather of what it is, directly, in the mental state that is called up by it. Every definition of a word is but a feeble and distant approximation of the unique flash of experience belonging to that word. It is not the sound sensation nor the visual image evoked by the word which counts, but the whole of the mental experience, to which the word is but an occasion and a cue. Therefore, since literature is the art of words, it is the stream of thought itself that we must consider as the material of literature.

In short, literature is the dialect of life--as Stevenson said; it is by literature that the business of life is carried on. Some one, however, may here demur: visual signs, too, are the dialect of life. We understand by what we see, and we live by what we understand. The curve of a line, the crescendo of a note, serve also for wordless messages. Why are not, then, painting and music the vehicles of experience, and to be judged first as evocation of life, and only afterward as sight and hearing? This conceded, we are thrown back on that view of art as "the fixed quant.i.ty of imaginative thought supplemented by certain technical qualities,--of color in painting, of sound in music, of rhythmical words in poetry," from which is has been the one aim of the preceding arguments of this book to free us.

The holders of this view, however, ignore the history and significance of language. Our sight and hearing are given to us prior to our understanding or use of them. In a way, we submit to them--they are always with us. We dwell in them through pa.s.sive states, through seasons of indifference; moreover when we see to understand, we do not SEE, and when we hear to understand we do not hear. Only shreds of sensation, caught up in our flight from one action to another, serve as signals for the meanings which concern us. In proportion as action is prompt and effective, does the cue as such tend to disappear, until, in all matters of skill, piano-playing, fencing, billiard-playing, the sight or sound which serves as cue drops almost together out of consciousness.

So far as it is vehicle of information, it is no longer sight or sound as such--interest has devoured it. But language came into being to supplement the lacks of sight and sound.

It was created by ourselves, to embody all active outreaching mental experience, and it comes into particular existence to meet an insistent emergency--a literally crying need. In short, it is CONSt.i.tUTED by meanings--its essence is communication. Sight and sound have a relatively independent existence, and may hence claim a realm of art that is largely independent of meanings. Not so the art of words, which can be but the art of meanings, of human experience alone.

And yet again, were the evocation of life the means and material of all art, that art in which the level of imaginative thought was low, the range of human experience narrow, would take a low place in the scale. What, then, of music and architecture? Inferior arts, they could not challenge comparison with the poignant, profound, all-embracing art of literature. But this is patently not the fact. There is no hierarchy of the arts. We may not rank St. Paul's Cathedral below "Paradise Lost." Yet is the material of all experience is the material of all art, they must not only be compared, but "Paradise Lost" must be admitted incomparably the greater. No--we may not admit that all the arts alike deal with the material of expression. The excellence of music and architecture, whatever it may be, cannot depend on this material. Yet by hypothesis it must be through the use of its material that the end of beauty is reached by every art.

A picture has lines and ma.s.ses and colors, wherewith to play with the faculty of vision, to weave a spell for the whole man.

Beauty is the power to enchant him through the eye and all that waits upon it, into a moment of perfection. Literature has "all thoughts, all pa.s.sions, all delights"--the treasury of life--to play with, to weave a spell for the whole man.

Beauty in literature is the power to enchant him, through the mind and heart, across the dialect of life, into a moment of perfection.

III

The art of letters, then, is the art whose material is life itself. Such, indeed, is the implication of the approval theories of style. Words, phrases, sentences, chapters, are excellent in so far as they are identical with thought in all its shades of feeling. "Economy of attention," Spencer's familiar phrase for the philosophy of style, his explanation of even the most ornate and extravagant forms, is but another name for this desired lucidity of the medium. Pater, himself, an artist in the overlaying of phrases, has the same teaching.

"All the laws of good writing aim at a similar unity or ident.i.ty of the mind in all the processes by which the word is a.s.sociated to its import. The term is right, and has its essential beauty, when it becomes, in a manner, what it signifies, as with the names of simple sensations."<1> He quotes therewith De Maupa.s.sant on Flaubert: "Among all the expressions in the world, all forms and turns of expression, there is but ONE--one form, one mode--to express what I want to say." And adds, "The one word for the one thing, the one thought, amid the mult.i.tude of words, terms, that might just do: the problem of style was there!--the unique word, phrase, sentence, paragraph, essay, or song, absolutely proper to the single mental presentation or vision within."...

<1> _Appreciations: An Essay on Style._

Thought in words is the matter of literature; and words exist but for thought, and get their excellence as thought; yet, as Flaubert says, the idea only exists by virtue of the form.

The form, or the word, IS the idea; that is, it carries along with it the fringe of suggestion which crystallizes the floating possibility in the stream of thought. A glance at the history of language shows how this must have been so. Words in their first formation were doubtless const.i.tuted by their imitative power. As Taine has said,<1> at the first they arose in contact with the objects; they imitated them by the grimaces of mouth and nose which accompanied their sound, by the roughness, smoothness, length, or shortness of this sound, by the rattle or whistle of the throat, by the inflation or contraction of the chest.

<1> H. Taine, _La Fontaine et ses Fables_, p. 288.

This primitive imitative power of the word survives in the so-called onomatapoetic words, which aim simply at reproducing the sounds of nature. A second order of imitation arises through the a.s.sociations of sensations. The different sensations, auditory, visual, olfactory, tactile, motor, and organic have common qualities, which they share with other more complex experiences; of form, as force or feebleness; of feeling, as harshness, sweetness, and so on. It is, indeed, another case of the form-qualities to which we recurred so often in the chapter on music. Clear and smooth vowels will give the impression of volatility and delicacy; open, broad ones of elevation or extension (airy, flee; large, far). The consonants which are hard to p.r.o.nounce will give the impression of effort, of shock, of violence, of difficulty, of heaviness,--"the round squat turret, black as the fool's heart;" those which are easy of p.r.o.nunciation express ease, smoothness, fluidity, calm, lightness, (facile, suave, roulade);--"lucent syrops, tinct with cinnamon," a line like honey on the tongue, of which physical organ, indeed, one becomes, with the word "tinct," definitely conscious.

In fact, the main point to notice in the enumeration of the expressive qualities of sounds, is that it is the movement in utterance which characterizes them. That movement tends to reproduce itself in the hearer, and carries with it its feeling- tone of ease or difficulty, explosiveness or sweetness long drawn out. It is thus by a kind of sympathetic induction rather than by external imitation that these words of the second type become expressive.

Finally, the two moments may be combined, as in such a word as "roaring," which is directly imitative of a sound, and by the muscular activity it calls into play suggests the extended energy of the action itself.

The stage in which the word becomes a mere colorless, algebraic sign of object or process never occurs, practically, for in any case it has acc.u.mulated in its history and vicissitudes a fringe of suggestiveness, as a ship acc.u.mulates barnacles. "Words carry with them all the meanings they have worn," says Walter Raleigh in his "Essay on Style." "A slight technical implication, a faint tinge of archaism in the common turn of speech that you employ, and in a moment you have shaken off the mob that scours the rutted highway, and are addressing a select audience of ticket-holders with closed doors." Manifold may be the implications and suggestions of even a single letter. Thus a charming anonymous essay on the word "Grey." "Gray is a quiet color for daylight things, but there is a touch of difference, of romance, even, about things that are grey. Gray is a color for fur, and Quaker gowns, and b.r.e.a.s.t.s of doves, and a gray day, and a gentlewoman's hair; and horses must be gray....Now grey is for eyes, the eyes of a witch, with green lights in them and much wickedness. Gray eyes would be as tender and yielding and true as blue ones; a coquette must have eyes of grey."

Words do not have meanings, they ARE meanings through their power of direct suggestion and induction. They may become what they signify. Nor is this power confined to words alone; on its possession by the phrase, sentence, or verse rests the whole theory of style. The short, sharp staccato, the bellowing turbulent, the swimming melodious circling sentence ARE truly what they mean, in their form as in the objective sense of their words. The sound-values of rhythm and pace have been in other chapters fully dwelt upon; the expressive power of breaks and variations is worth noting also. Of the irresistible significance of rhythm, even against content, we have an example amusingly commented on by Mr. G.K. Chesterton in his "Twelve Types." "He (Byron) may arraign existence on the most deadly charges, he may condemn it with the most desolating verdict, but he cannot alter the fact that on some walk in a spring morning when all the limbs are swinging and all the blood alive in the body, the lips may be caught repeating:

'Oh, there's not a joy the world can give like that it takes away, When the glow of early youth declines in beauty's dull decay.'

That automatic recitation is the answer to the whole pessimism of Byron."

IV

Such, then, are some of the means by which language becomes identical with thought, and most truly the dialect of life.

The genius will have ways, to which these briefly outlined ones will seem crude and obvious, but they will be none the less of the same nature. Shall we then conclude that the beauty of literature is here? that, in the words of Pater, from the essay I have quoted, "In that perfect justice (of the unique word)...omnipresent in good work, in function at every point, from single epithets to the rhythm of a whole book, lay the specific, indispensable, very intellectual beauty of literature, the possibility of which const.i.tutes it a fine art."

In its last a.n.a.lysis, such a conception of literature amounts to the unimpeded intercourse of mind with mind. Literature would be a language which dispenses with gesture, facial expression, tone of voice; which is, in its halts, accelerations and r.e.t.a.r.dations, emphases and concessions, the apotheosis of conversation. But this clearness,--in the sublime sense, including the ornate and the subtle,--this luminous lucidity,-- is it not quite indeterminate? Clearness is said of a medium.

WHAT is it that shines through?

Were this clearness the beauty we are seeking, whatever in the world that wanted to get itself said, would, if it were perfectly said, become a final achievement of literature. All that the plain man looks for, we must think rightly, in poetry and prose, might be absent, and yet we should have to acknowledge its excellence. Let us then consider this quality by which the words become what they signify as the specific beauty rather of style than of literature; the mere refining of the gold from which the work of art has yet to be made.

Language is the dialect of life; and the most perfect language can be no more than the most perfect truth of intercourse. It must then be through the treatment of life, or the sense of life itself, that we are somehow to attain the perfect moment of beauty.

The sense of life! In what meaning are these words to be taken? Not the completest sense of all, because the essence of life is in personal responsibility to a situation, and this is exactly what in our experience of literature disappears.

First of all, then, before asking how the moment of beauty is to be attained, we must see how it is psychologically possible to have a sense of life that is yet purged of the will to live.

All experience of life is a complication of ideas, emotions, and att.i.tudes or impulses to action in varying proportions.

The sentiment of reality is const.i.tuted by our tendency to interfere, to "take a hand." Sometimes the stage of our consciousness is so fully occupied by the images of others that our own reaction is less vivid. Finally, all conditions and possibilities of reaction may be so minimized that the only att.i.tude possible is our acceptance or rejection of a world in which such things can be. What does it "matter" to me whether or not "the old, unhappy, far-off things" really happened? The worlds of the Borgias, of Don Juan, and of the Russian war stand on the same level of reality. Auca.s.sin and Nicolette are as near to me as Abelard and Heloise. For in relation to these persons my impulse is NIL. I submit to them, I cannot change or help them; and because I have no impulse to interfere, they are not vividly real to me. And, in general, in so far as I am led to contemplate or to dwell on anything in idea, in so far does my personal att.i.tude tend to parallel this impersonal one toward real persons temporally or geographically out of reach.

Now in literature all conditions tend to the enormous preponderance of the ideal element in experience. My mind in reading is completely filled with ideas of the appearance, ways, manners, and situation of the people concerned. I leave them a clear field. My emotions are enlisted only as the inevitable fringe of a.s.sociation belonging to vivid ideas-- the ideas of their emotions. So far as all the possibilities of understanding are fulfilled for me, so far as I am in possession of all the conditions, so far do I "realize" the characters, but realize them as ideas tinged with feeling.

Here there will be a.s.severations to the contrary. What! feel no real emotion over Little Nell, or Colonel Newcome? no emotion in that great scene of pa.s.sion and despair, the parting of Richard Feverel and Lucy,--a scene which none can read save with tight throat and burning eyes! Even so. It is not real emotion. You have the vivid ideas, so vivid that a fringe of emotional a.s.sociation accompanies them, as you might shudder remembering a bad dream. But the real emotion arises only from the real impulse, the real responsibility.

The sense of life that literature gives might be described as life in its aspect as idea. That this fact is the cause of the peace and painlessness of literature--since it is by his actions, as Aristotle says, that man is happy or the reverse-- need not concern us here. For the beauty of literature, and our joy in it, lie not primarily in its lack of power to hurt us. The point is that literature gives none the less truly a sense of life because it happens to be one extreme aspect of life. The literary way is only one of the ways in which life can be met.

To give the sense of life perfectly--to create the illusion of life--is this, then, the beauty of literature? But we are seeking for the perfect moment of stimulation and repose. Why should the perfect illusion of life give this, any more than life itself does? So the "vision" of a picture might be intensely clear, and yet the picture itself unbeautiful. Such a complete "sense of life," such clear "vision," would show the artist's mastery of technique, but not his power to create beauty. In the art of literature, as in the art of painting, the normal function is but the first condition, the state of perfection is the end at which to aim.

It is just this distinction that we can properly make between the characteristic or typical in the sense of differentiated, and the great or excellent in literature. In the theory of some writers, perfect fidelity to the type is the only originality. To paint the Russian peasant or the French bourgeois as he is, to catch the exact shade of exquisite soullessness in Oriental loves, to reproduce the Berserker rage or the dull horror of battle, is indeed to give the perfect sense of life. But the perfect, or the complete, sense of life is not the moment of perfect life.

Yet to this a.s.sertion two answers might be made. The authors of "Bel-Ami," or "Madame Chrysantheme," or "The Triumph of Death," might claim to be saved by their form. The march of events, the rounding climax, the crystal-clear unity of the finished work, they might say, gives the indispensable union, for the perfect moment of stimulation and repose. No syllable in the slow unfolding of exquisite cadences but is supremely placed from the first page to the last. As note calls to note, so thought calls to thought, and feeling to feeling, and the last word is an answer to the first of the inevitable procession. A writer's donnee, they would say, is his own.

The reader may only bed--Make me something fine after your own fashion!

And they would have to be acknowledged partly in the right.

In that inevitable unity of form there is indeed a necessary element of the perfect moment; but it is not a perfect unity.

For the matter of their art should be, in the last a.n.a.lysis, life itself; and the unity of life itself, the one basic unity of all, they have missed. It is a hollow sphere they present, and nothing solid. Henry James has spent the whole of a remarkable essay on D'Annunzio's creations in determining the meaning of "the fact that their total beauty somehow extraordinarily fails to march with their beauty of parts, and that something is all the while at work undermining that bulwark against ugliness which it is their obvious theory of their own office to throw up." The secret is, he avers, that the themes, the "anecdotes," could find their extension and consummation only in the rest of life. Shut out, as they are, from the rest of life, shut out from all fruition and a.s.similation, and so from all hope of dignity, they lose absolutely their power to sway us.

It might be simpler to say that these works lack the first beauty which literature as the dialect of life can have--they lack the repose of centrality; they have no ident.i.ty with the meaning of life as a whole. It could not be said of them, as Bagehot said of Shakespeare: "He puts things together, he refers things to a principle; rather, they group themselves in his intelligence insensibly around a principle;...a cool oneness, a poised personality, pervades him." But in these men there is no cool oneness, no reasonable soul, and so they miss the central unity of life, which can give unity to literature. Even the apparent structural unity fails when looked at closely; the actions of the characters are seen to be mechanical--their meaning is not inevitable.

The second answer to our a.s.sertion that the "sense of life" is not the beauty of literature might call attention to the fact that SENSE of life may be taken as understanding of life. A complete sense of life must include the conditions of life, and the conditions of life involve this very "energetic ident.i.ty"

on which we have insisted. And this contention we must admit.

So long as the sense of life is taken as the illusion of life, our words hold good. But if to that is added understanding of life, the door is open to the profoundest excellences of literature. Henry James has glimpsed this truth in saying that no good novel will ever proceed from a superficial mind.

Stevenson has gone further. "But the truth is when books are conceived under a great stress, with a soul of ninefold power, nine time heated and electrified by effort, the conditions of our being seized with such an ample grasp, that even should the main design be trivial or base, some truth and beauty cannot fail to be expressed."

V

The conditions of our being! If we accept, affirm, profoundly rest in what is presented to us, we have the first condition of that repose which is the essence of the aesthetic experience.

And from this highest demand can be viewed the hierarchy of the lesser perfections which go to make up the "perfect moment" of literature. Instead of reaching this point by successive eliminations, we might indeed have reached it in one stride.

The perfect moment across the dialect of life, the moment of perfect life, must be in truth that in which we touch the confines of our being, look upon our world, all in all, as revealed in some great moment, and see that it is good--that we grasp it, possess it, that it is akin to us, that it is identical with our deepest wills. The work that grasps the conditions of our being gives ourselves back to us completed.

In the conditions of our being in a less profound sense may be found the further means to the perfect moment. Thus the progress of events, the development of feelings, must be in harmony with our natural processes. The development, the rise, complication, expectation, gratification, the suspense, climax, and drop of the great novel, correspond to the natural functioning of our mental processes. It is an experience that we seek, multiplied, perfected, expanded--the life moment of a man greater than we. This, too, is the ultimate meaning of the demands of style. Lucidity, indeed, there must be,-- ident.i.ty with the thought; but besides the value of the thought in its approximation to the conditions of our being, we seek the vividness of that thought,--the perfect moment of apprehension, as well as of experience. It is the beauty of style to be lucid; but the beauty of lucidity is to reinforce the springs of thought.

Even to the minor elements of style, the tone-coloring, the rhythm, the melody,--the essence of beauty, that is, of the perfect moment, is given by the perfecting of the experience.

The beauty of liquids is their ease and happiness of utterance.

The beauty of rhythm is its aiding and compelling power, on utterance and thought. There is a sensuous pleasure in a great style; we love to mouth it, for it is made to mouth.

As Flaubert says somewhat brutally, "Je ne said qu'une phrase est bonne qu'apres l'avoir fait pa.s.ser par mon gueuloir."