The Sense of Beauty, George Santayana [e ink epub reader .txt] 📗

This physical thirst for seeing has its intellectual extension. We covet truth, and to attain it, amid all accidents, is a supreme satisfaction. Now this satisfaction the representation of evil can also afford. Whether we hear the account of some personal accident, or listen to the symbolic representation of the inherent tragedy of life, we crave the same knowledge; the desire for truth makes us welcome eagerly whatever comes in its name. To be sure, the relief of such instruction does not of itself constitute an aesthetic pleasure: the other conditions of beauty remain to be fulfilled. But the satisfaction of so imperious an intellectual instinct insures our willing attention to the tragic object, and strengthens the hold which any beauties it may possess will take upon us. An intellectual value stands ready to be transmuted into an aesthetic one, if once its discursiveness is lost, and it is left hanging about the object as a vague sense of dignity and meaning.

To this must be added the specific pleasure of recognition, one of the keenest we have, and the sentimental one of nursing our own griefs and dignifying them by assimilation to a less inglorious representation of them. Here we have truth on a small scale; conformity in the fiction to incidents of our personal experience. Such correspondences are the basis of much popular appreciation of trivial and undigested works that appeal to some momentary phase of life or feeling, and disappear with it. They have the value of personal stimulants only; they never achieve beauty. Like the souvenirs of last season's gayeties, or the diary of an early love, they are often hideous in themselves in proportion as they are redolent with personal associations. But however hopelessly mere history or confession may fail to constitute a work of art, a work of art that has an historical warrant, either literal or symbolical, gains the support of that vivid interest we have in facts. And many tragedies and farces, that to a mind without experience of this sublunary world might seem monstrous and disgusting fictions, may come to be forgiven and even perhaps preferred over all else, when they are found to be a sketch from life.

Truth is thus the excuse which ugliness has for being. Many people, in whom the pursuit of knowledge and the indulgence in sentiment have left no room for the cultivation of the aesthetic sense, look in art rather for this expression of fact or of passion than for the revelation of beauty. They accordingly produce and admire works without intrinsic value. They employ the procedure of the fine arts without an eye to what can give pleasure in the effect. They invoke rather the a priori interest which men are expected to have in the subject-matter, or in the theories and moral implied in the presentation of it. Instead of using the allurements of art to inspire wisdom, they require an appreciation of wisdom to make us endure their lack of art.

Of course, the instruments of the arts are public property and any one is free to turn them to new uses. It would be an interesting development of civilization if they should now be employed only as methods of recording scientific ideas and personal confessions. But the experiment has not succeeded and can hardly succeed. There are other simpler, clearer, and more satisfying ways of expounding truth. A man who is really a student of history or philosophy will never rest with the vague and partial oracles of poetry, not to speak of the inarticulate suggestions of the plastic arts. He will at once make for the principles which art cannot express, even if it can embody them, and when those principles are attained, the works of art, if they had no other value than that of suggesting them, will lapse from his mind. Forms will give place to formulas as hieroglyphics have given place to the letters of the alphabet.

If, on the other hand, the primary interest is really in beauty, and only the confusion of a moral revolution has obscured for a while the vision of the ideal, then as the mind regains its mastery over the world, and digests its new experience, the imagination will again be liberated, and create its forms by its inward affinities, leaving all the weary burden, archaeological, psychological, and ethical, to those whose business is not to delight. But the sudden inundation of science and sentiment which has made the mind of the nineteenth century so confused, by overloading us with materials and breaking up our habits of apperception and our ideals, has led to an exclusive sense of the value of expressiveness, until this has been almost identified with beauty. This exaggeration can best prove how the expression of truth may enter into the play of aesthetic forces, and give a value to representations which, but for it, would be repulsive.

The liberation of self.

§ 59. Hitherto we have been considering those elements of a pathetic presentation which may mitigate our sympathetic emotion, and make it on the whole agreeable. These consist in the intrinsic beauties of the medium of presentation, and in the concomitant manifestation of various goods, notably of truth. The mixture of these values is perhaps all we have in mildly pathetic works, in the presence of which we are tolerably aware of a sort of balance and compensation of emotions. The sorrow and the beauty, the hopelessness and the consolation, mingle and merge into a kind of joy which has its poignancy, indeed, but which is far too passive and penitential to contain the louder and sublimer of our tragic moods. In these there is a wholeness, a strength, and a rapture, which still demands an explanation.

Where this explanation is to be found may be guessed from the following circumstance. The pathetic is a quality of the object, at once lovable and sad, which we accept and allow to flow in upon the soul; but the heroic is an attitude of the will, by which the voices of the outer world are silenced, and a moral energy, flowing from within, is made to triumph over them. If we fail, therefore, to discover, by analysis of the object, anything which could make it sublime, we must not be surprised at our failure. We must remember that the object is always but a portion of our consciousness: that portion which has enough coherence and articulation to be recognized as permanent and projected into the outer world. But consciousness remains one, in spite of this diversification of its content, and the object is not really independent, but is in constant relation to the rest of the mind, in the midst of which it swims like a bubble on a dark surface of water.

The aesthetic effect of objects is always due to the total emotional value of the consciousness in which they exist. We merely attribute this value to the object by a projection which is the ground of the apparent objectivity of beauty. Sometimes this value may be inherent in the process by which the object itself is perceived; then we have sensuous and formal beauty; sometimes the value may be due to the incipient formation of other ideas, which the perception of this object evokes; then we have beauty of expression. But among the ideas with which every object has relation there is one vaguest, most comprehensive, and most powerful one, namely, the idea of self. The impulses, memories, principles, and energies which we designate by that word baffle enumeration; indeed, they constantly fade and change into one another; and whether the self is anything, everything, or nothing depends on the aspect of it which we momentarily fix, and especially on the definite object with which we contrast it.

Now, it is the essential privilege of beauty to so synthesize and bring to a focus the various impulses of the self, so to suspend them to a single image, that a great peace falls upon that perturbed kingdom. In the experience of these momentary harmonies we have the basis of the enjoyment of beauty, and of all its mystical meanings. But there are always two methods of securing harmony: one is to unify all the given elements, and another is to reject and expunge all the elements that refuse to be unified. Unity by inclusion gives us the beautiful; unity by exclusion, opposition, and isolation gives us the sublime. Both are pleasures: but the pleasure of the one is warm, passive, and pervasive; that of the other cold, imperious, and keen. The one identifies us with the world, the other raises us above it.

There can be no difficulty in understanding how the expression of evil in the object may be the occasion of this heroic reaction of the soul. In the first place, the evil may be felt; but at the same time the sense that, great as it may be in itself, it cannot touch us, may stimulate extraordinarily the consciousness of our own wholeness. This is the sublimity which Lucretius calls "sweet" in the famous lines in which he so justly analyzes it. We are not pleased because another suffers an evil, but because, seeing it is an evil, we see at the same time our own immunity from it. We might soften the picture a little, and perhaps make the principle even clearer by so doing. The shipwreck observed from the shore does not leave us wholly unmoved; we suffer, also, and if possible, would help. So, too, the spectacle of the erring world must sadden the philosopher even in the Acropolis of his wisdom; he would, if it might be, descend from his meditation and teach. But those movements of sympathy are quickly inhibited by despair of success; impossibility of action is a great condition of the sublime. If we could count the stars, we should not weep before them. While we think we can change the drama of history, and of our own lives, we are not awed by our destiny. But when the evil is irreparable, when our life is lived, a strong spirit has the sublime resource of standing at bay and of surveying almost from the other world the vicissitudes of this.

The more intimate to himself the tragedy he is able to look back upon with calmness, the more sublime that calmness is, and the more divine the ecstasy in which he achieves it. For the more of the accidental vesture of life we are able to strip ourselves of, the more naked and simple is the surviving spirit; the more complete its superiority and unity, and, consequently, the more unqualified its joy. There remains little in us, then, but that intellectual essence, which several great philosophers have called eternal and identified with the Divinity.

A single illustration may help to fix these principles in the mind. When Othello has discovered his fatal error, and is resolved to take his own life, he stops his groaning, and addresses the ambassadors of Venice thus:

     Speak of me as I am: nothing extenuate,
     Nor set down aught in malice: then, must you speak
     Of one that loved, not wisely, but too well;
     Of one not easily jealous, but, being wrought,
     Perplexed in the extreme; of one whose hand,
     Like the base Indian, threw a pearl away
     Richer than all his tribe; of one whose subdued eyes,
     Albeit unused to the melting mood,
     Drop tears as fast as the Arabian trees
     Their medicinal gum. Set you down this:
     And say, besides, that in Aleppo once
     When a malignant and a turbaned Turk
     Beat a Venetian, and traduced the state,
     I took by the throat the circumcised dog,
     And smote him, thus.

There is a kind of criticism that would see in all these allusions, figures of speech, and wandering reflections, an unnatural rendering