|Readings in the History of Ăsthetics: An Open-Source Reader; Ver. 0.11|
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Beauty addresses itself chiefly to sight; but there is a beauty for the hearing too, as in certain combinations of words and in all kinds of music, for melodies and cadences are beautiful; and minds that lift themselves above the realm of sense to a higher order are aware of beauty in the conduct of life, in actions, in character, in the pursuits of the intellect; and there is the beauty of the virtues. What loftier beauty there may be, yet, our argument will bring to light.
What, then, is it that gives comeliness to material forms and draws the ear to the sweetness perceived in sounds, and what is the secret of the beauty there is in all that derives from Soul? …
Consider that some things, material shapes for instance, are gracious not by anything inherent but by something communicated, while others are lovely of themselves, as, for example, Virtue.
The same bodies appear sometimes beautiful, sometimes not; so that there is a good deal between being body and being beautiful.
What, then, is this something that shows itself in certain material forms? This is the natural beginning of our enquiry.
What is it that attracts the eyes of those to whom a beautiful object is presented, and calls them, lures them, towards it, and fills them with joy at the sight? If we possess ourselves of this, we have at once a standpoint for the wider survey.
Almost everyone declares that the symmetry of parts towards each other and towards a whole, with, besides, a certain charm of colour, constitutes the beauty recognized by the eye, that in visible things, as indeed in all else, universally, the beautiful thing is essentially symmetrical, patterned.
But think what this means. …
All the loveliness of colour and even the light of the sun, being devoid of parts and so not beautiful by symmetry, must be ruled out of the realm of beauty. And how comes gold to be a beautiful thing? And lightning by night, and the stars, why are these so fair?
In sounds also the simple must be proscribed, though often in a whole noble composition each of several tones is delicious in itself.
Again since the one face, constant in symmetry, appears sometimes fair and sometimes not, can we doubt that beauty is something more than symmetry, that symmetry itself owes its beauty to a remoter principle?
Turn to what is attractive in methods of life or in the expression of thought; are we to call in symmetry here? What symmetry is to be found in noble conduct, or excellent laws, in any form of mental pursuit?
What symmetry can there be in points of abstract thought? …
Then again, all the virtues are a beauty of the soul, a beauty authentic beyond any of these others; but how does symmetry enter here? The soul, it is true, is not a simple unity, but still its virtue cannot have the symmetry of size or of number: what standard of measurement could preside over the compromise or the coalescence of the soul's faculties or purposes?
Finally, how by this theory would there be beauty in the Intellectual-Principle, essentially the solitary?
Let us, then, go back to the source, and indicate at once the Principle that bestows beauty on material things. …
We hold that all the loveliness of this world comes by communion in Ideal-Form.
All shapelessness whose kind admits of pattern and form, as long as it remains outside of Reason and Idea, is ugly by that very isolation from the Divine-Thought. And this is the Absolute Ugly: an ugly thing is something that has not been entirely mastered by pattern, that is by Reason, the Matter not yielding at all points and in all respects to Ideal-Form.
But where the Ideal-Form has entered, it has grouped and coordinated what from a diversity of parts was to become a unity: it has rallied confusion into co-operation: it has made the sum one harmonious coherence: for the Idea is a unity and what it moulds must come to unity as far as multiplicity may.
And on what has thus been compacted to unity, Beauty enthrones itself, giving itself to the parts as to the sum: when it lights on some natural unity, a thing of like parts, then it gives itself to that whole. Thus, for an illustration, there is the beauty, conferred by craftsmanship, of all a house with all its parts, and the beauty which some natural quality may give to a single stone.
This, then, is how the material thing becomes beautiful— by communicating in the thought that flows from the Divine.
And the soul includes a faculty peculiarly addressed to Beauty‐one incomparably sure in the appreciation of its own, never in doubt whenever any lovely thing presents itself for judgement.
Or perhaps the soul itself acts immediately, affirming the Beautiful where it finds something accordant with the Ideal-Form within itself, using this Idea as a canon of accuracy in its decision.
But what accordance is there between the material and that which antedates all Matter?
On what principle does the architect, when he finds the house standing before him correspondent with his inner ideal of a house, pronounce it beautiful? Is it not that the house before him, the stones apart, is the inner idea stamped upon the mass of exterior matter, the indivisible exhibited in diversity?
So with the perceptive faculty: discerning in certain objects the Ideal-Form which has bound and controlled shapeless matter, opposed in nature to Idea, seeing further stamped upon the common shapes some shape excellent above the common, it gathers into unity what still remains fragmentary, catches it up and carries it within, no longer a thing of parts, and presents it to the Ideal-Principle as something concordant and congenial, a natural friend: the joy here is like that of a good man who discerns in a youth the early signs of a virtue consonant with the achieved perfection within his own soul.
The beauty of colour is also the outcome of a unification: it derives from shape, from the conquest of the darkness inherent in Matter by the pouring-in of light, the unembodied, which is a Rational-Principle and an Ideal-Form. …
And harmonies unheard in sound create the harmonies we hear, and wake the soul to the consciousness of beauty, showing it the one essence in another kind: for the measures of our sensible music are not arbitrary but are determined by the Principle whose labour is to dominate Matter and bring pattern into being. …
… As it is not for those to speak of the graceful forms of the material world who have never seen them or known their grace. …
Such vision is for those only who see with the Soul's sight—and at the vision, they will rejoice, and awe will fall upon them and a trouble deeper than all the rest could ever stir, for now they are moving in the realm of Truth.
This is the spirit that Beauty must ever induce, wonderment and a delicious trouble, longing and love and a trembling that is all delight. For the unseen all this may be felt as for the seen; and this the Souls feel for it, every soul in some degree, but those the more deeply that are the more truly apt to this higher love—just as all take delight in the beauty of the body but all are not stung as sharply, and those only that feel the keener wound are known as Lovers.
These Lovers, then, lovers of the beauty outside of sense, must be made to declare themselves.
What do you feel in presence of the grace you discern in actions, in manners, in sound morality, in all the works and fruits of virtue, in the beauty of souls? When you see that you yourselves are beautiful within, what do you feel? What is this Dionysiac exultation that thrills through your being, this straining upwards of all your Soul, this longing to break away from the body and live sunken within the veritable self?
These are no other than the emotions of Souls under the spell of love.
But what is it that awakens all this passion? No shape, no colour, no grandeur of mass: all is for a Soul, something whose beauty rests upon no colour, for the moral wisdom the Soul enshrines and all the other hueless splendour of the virtues. It is that you find in yourself, or admire in another, loftiness of spirit; righteousness of life; disciplined purity; courage of the majestic face; gravity; modesty that goes fearless and tranquil and passionless; and, shining down upon all, the light of god-like Intellection. …
Let us take the contrary, the ugliness of the Soul, and set that against its beauty: to understand, at once, what this ugliness is and how it comes to appear in the Soul will certainly open our way before us.
Let us then suppose an ugly Soul, dissolute, unrighteous: teeming with all the lusts; torn by internal discord; beset by the fears of its cowardice and the envies of its pettiness; thinking, in the little thought it has, only of the perish able and the base; perverse in all its the friend of unclean pleasures; living the life of abandonment to bodily sensation and delighting in its deformity. …
An unclean thing, I dare to say; flickering hither and thither at the call of objects of sense, deeply infected with the taint of body, occupied always in Matter, and absorbing Matter into itself; in its commerce with the Ignoble it has trafficked away for an alien nature its own essential Idea. …
So, we may justly say, a Soul becomes ugly—by something foisted upon it, by sinking itself into the alien, by a fall, a descent into body, into Matter. The dishonour of the Soul is in its ceasing to be clean and apart. Gold is degraded when it is mixed with earthy particles; if these be worked out, the gold is left and is beautiful, isolated from all that is foreign, gold with gold alone. And so the Soul; let it be but cleared of the desires that come by its too intimate converse with the body, emancipated from all the passions, purged of all that embodiment has thrust upon it, withdrawn, a solitary, to itself again—in that moment the ugliness that came only from the alien is stripped away.
For, as the ancient teaching was, moral-discipline and courage and every virtue, not even excepting Wisdom itself, all is purification.…
Courage is but being fearless of the death which is but the parting of the Soul from the body, an event which no one can dread whose delight is to be his unmingled self. And Magnanimity is but disregard for the lure of things here. And Wisdom is but the Act of the Intellectual-Principle withdrawn from the lower places and leading the Soul to the Above.
The Soul thus cleansed is all Idea and Reason, wholly free of body, intellective, entirely of that divine order from which the wellspring of Beauty rises and all the race of Beauty.
Hence the Soul heightened to the Intellectual-Principle is beautiful to all its power. For Intellection and all that proceeds from Intellection are the Soul's beauty, a graciousness native to it and not foreign, for only with these is it truly Soul. And it is just to say that in the Soul's becoming a good and beautiful thing is its becoming like to God, for from the Divine comes all the Beauty and all the Good in beings.
We may even say that Beauty is the Authentic-Existents and Ugliness is the Principle contrary to Existence: and the Ugly is also the primal evil; therefore its contrary is at once good and beautiful, or is Good and Beauty: and hence the one method will discover to us the Beauty-Good and the Ugliness-Evil.
And Beauty, this Beauty which is also The Good, must be posed as The First: directly deriving from this First is the Intellectual-Principle which is pre-eminently the manifestation of Beauty; through the Intellectual-Principle Soul is beautiful. The beauty in things of a lower order-actions and pursuits for instance—comes by operation of the shaping Soul which is also the author of the beauty found in the world of sense. For the Soul, a divine thing, a fragment as it were of the Primal Beauty, makes beautiful to the fulness of their capacity all things whatsoever that it grasps and moulds.
Therefore we must ascend again towards the Good, the desired of every Soul. Anyone that has seen This, knows what I intend when I say that it is beautiful. Even the desire of it is to be desired as a Good. To attain it is for those that will take the upward path, who will set all their forces towards it, who will divest themselves of all that we have put on in our descent … until, passing, on the upward way, all that is other than the God, each in the solitude of himself shall behold that solitary-dwelling Existence, the Apart, the Unmingled, the Pure, that from Which all things depend, for Which all look and live and act and know, the Source of Life and of Intellection and of Being.
And one that shall know this vision—with what passion of love shall he not be seized, with what pang of desire, what longing to be molten into one with This, what wondering delight! If he that has never seen this Being must hunger for It as for all his welfare, he that has known must love and reverence It as the very Beauty; he will be flooded with awe and gladness, stricken by a salutary terror; he loves with a veritable love, with sharp desire; all other loves than this he must despise, and disdain all that once seemed fair.
This, indeed, is the mood even of those who, having witnessed the manifestation of Gods or Supernals, can never again feel the old delight in the comeliness of material forms: what then are we to think of one that contemplates Absolute Beauty in Its essential integrity, no accumulation of flesh and matter, no dweller on earth or in the heavens—so perfect Its purity—far above all such things in that they are non-essential, composite, not primal but descending from This?
Beholding this Being—the Choragos of all Existence, the Self-Intent that ever gives forth and never takes—resting, rapt, in the vision and possession of so lofty a loveliness, growing to Its likeness, what Beauty can the soul yet lack? For This, the Beauty supreme, the absolute, and the primal, fashions Its lovers to Beauty and makes them also worthy of love.
And for This, the sternest and the uttermost combat is set before the Souls; all our labour is for This, lest we be left without part in this noblest vision, which to attain is to be blessed in the blissful sight, which to fail of is to fail utterly. …
But what must we do? How lies the path? How come to vision of the inaccessible Beauty, dwelling as if in consecrated precincts, apart from the common ways where all may see, even the profane?
He that has the strength, let him arise and withdraw into himself, foregoing all that is known by the eyes, turning away for ever from the material beauty that once made his joy. When he perceives those shapes of grace that show in body, let him not pursue: he must know them for copies, vestiges, shadows, and hasten away towards that they tell of …
… all this order of things you must set aside and refuse to see: you must close the eyes and call instead upon another vision which is to be waked within you, a vision, the birth-right of all, which few turn to use.
And this inner vision, what is its operation?
Newly awakened it is all too feeble to bear the ultimate splendour. Therefore the Soul must be trained—to the habit of remarking, first, all noble pursuits, then the works of beauty produced not by the labour of the arts but by the virtue of men known for their goodness: lastly, you must search the souls of those that have shaped these beautiful forms.
But how are you to see into a virtuous soul and know its loveliness?
Withdraw into yourself and look. And if you do not find yourself beautiful yet, act as does the creator of a statue that is to be made beautiful: he cuts away here, he smoothes there, he makes this line lighter, this other purer, until a lovely face has grown upon his work. So do you also: cut away all that is excessive, straighten all that is crooked, bring light to all that is overcast, labour to make all one glow of beauty and never cease chiselling your statue, until there shall shine out on you from it the godlike splendour of virtue, until you shall see the perfect goodness surely established in the stainless shrine.
When you know that you have become this perfect work, when you are self-gathered in the purity of your being, nothing now remaining that can shatter that inner unity, nothing from without clinging to the authentic man, when you find yourself wholly true to your essential nature, wholly that only veritable Light which is not measured by space, not narrowed to any circumscribed form nor again diffused as a thing void of term, but ever unmeasurable as something greater than all measure and more than all quantity—when you perceive that you have grown to this, you are now become very vision: now call up all your confidence, strike forward yet a step—you need a guide no longer—strain, and see.
This is the only eye that sees the mighty Beauty. If the eye that adventures the vision be dimmed by vice, impure, or weak, and unable in its cowardly blenching to see the uttermost brightness, then it sees nothing even though another point to what lies plain to sight before it. To any vision must be brought an eye adapted to what is to be seen, and having some likeness to it. Never did eye see the sun unless it had first become sunlike, and never can the soul have vision of the First Beauty unless itself be beautiful.
Therefore, first let each become godlike and each beautiful who cares to see God and Beauty. So, mounting, the Soul will come first to the Intellectual-Principle and survey all the beautiful Ideas in the Supreme and will avow that this is Beauty, that the Ideas are Beauty. For by their efficacy comes all Beauty else, but the offspring and essence of the Intellectual-Being. What is beyond the Intellectual-Principle we affirm to be the nature of Good radiating Beauty before it. So that, treating the Intellectual-Kosmos as one, the first is the Beautiful: if we make distinction there, the Realm of Ideas constitutes the Beauty of the Intellectual Sphere; and The Good, which lies beyond, is the Fountain at once and Principle of Beauty: the Primal Good and the Primal Beauty have the one dwelling-place and, thus, always, Beauty's seat is There.