VIII.BEAUTY.Was never form and never faceSo sweet to SEYD as only graceWhich did not slumber like a stoneBut hovered gleaming and was gone.Beauty chased he everywhere,In flame, in storm, in clouds of air.He smote the lake to feed his eyeWith the beryl beam of the broken waveHe flung in pebbles well to hearThe moment's music which they gave.Oft pealed for him a lofty toneFrom nodding pole and belting zone.He heard a voice none else could hearFrom centred and from errant sphere.The quaking earth did quake in rhyme,Seas ebbed and flowed in epic chime.In dens of passion, and pits of wo,He saw strong Eros struggling through,To sun the dark and solve the curse,And beam to the bounds of the universe.While thus to love he gave his daysIn loyal worship, scorning praise,How spread their lures for him, in vain,Thieving Ambition and paltering Gain!He thought it happier to be dead,To die for Beauty, than live for bread.BEAUTY.The spiral tendency of vegetation infects education also. Our books approach very slowly the things we most wish to know. What a parade we make of our science, and how far off, and at arm's length, it is from its objects! Our botany is all names, not powers: poets and romancers talk of herbs of grace and healing; but what does the botanist know of the virtues of his weeds? The geologist lays bare the strata, and can tell them all on his fingers: but does he know what effect passes into the man who builds his house in them? what effect on the race that inhabits a granite shelf? what on the inhabitants of marl and of alluvium?We should go to the ornithologist with a new feeling, if he could teach us what the social birds say, when they sit in the autumn council, talking together in the trees. The want of sympathy makes his record a dull dictionary. His result is a dead bird. The bird is not in its ounces and inches, but in its relations to Nature; and the skin or skeleton you show me, is no more a heron, than a heap of ashes or a bottle of gases into which his body has been reduced, is Dante or Washington. The naturalist is ledfromthe road by the whole distance of his fancied advance. The boy had juster views when he gazed at the shells on the beach, or the flowers in the meadow, unable to call them by their names, than the man in the pride of his nomenclature. Astrology interested us, for it tied man to the system. Instead of an isolated beggar, the farthest star felt him, and he felt the star. However rash and however falsified by pretenders and traders in it, the hint was true and divine, the soul's avowal of its large relations, and, that climate, century, remote natures, as well as near, are part of its biography. Chemistry takes to pieces, but it does not construct. Alchemy which sought to transmute one element into another, to prolong life, to arm with power,—that was in the right direction. All our science lacks a human side. The tenant is more than the house. Bugs and stamens and spores, on which we lavish so many years, are not finalities, and man, when his powers unfold in order, will take Nature along with him, and emit light into all her recesses. The human heart concerns us more than the poring into microscopes, and is larger than can be measured by the pompous figures of the astronomer.We are just so frivolous and skeptical. Men hold themselves cheap and vile: and yet a man is a fagot of thunderbolts. All the elements pour through his system: he is the flood of the flood, and fire of the fire; he feels the antipodes and the pole, as drops of his blood: they are the extension of his personality. His duties are measured by that instrument he is; and a right and perfect man would be felt to the centre of the Copernican system. 'Tis curious that we only believe as deep as we live. We do not think heroes can exert any more awful power than that surface-play which amuses us. A deep man believes in miracles, waits for them, believes in magic, believes that the orator will decompose his adversary; believes that the evil eye can wither, that the heart's blessing can heal; that love can exalt talent; can overcome all odds. From a great heart secret magnetisms flow incessantly to draw great events. But we prize very humble utilities, a prudent husband, a good son, a voter, a citizen, and deprecate any romance of character; and perhaps reckon only his money value,—his intellect, his affection, as a sort of bill of exchange, easily convertible into fine chambers, pictures, music, and wine.The motive of science was the extension of man, on all sides, into Nature, till his hands should touch the stars, his eyes see through the earth, his ears understand the language of beast and bird, and the sense of the wind; and, through his sympathy, heaven and earth should talk with him. But that is not our science. These geologies, chemistries, astronomies, seem to make wise, but they leave us where they found us. The invention is of use to the inventor, of questionable help to any other. The formulas of science are like the papers in your pocket-book, of no value to any but the owner. Science in England, in America, is jealous of theory, hates the name of love and moral purpose. There's a revenge for this inhumanity. What manner of man does science make? The boy is not attracted. He says, I do not wish to be such a kind of man as my professor is. The collector has dried all the plants in his herbal, but he has lost weight and humor. He has got all snakes and lizards in his phials, but science has done for him also, and has put the man into a bottle. Our reliance on the physician is a kind of despair of ourselves. The clergy have bronchitis, which does not seem a certificate of spiritual health. Macready thought it came of thefalsettoof their voicing. An Indian prince, Tisso, one day riding in the forest, saw a herd of elk sporting. "See how happy," he said, "these browsing elks are! Why should not priests, lodged and fed comfortably in the temples, also amuse themselves?" Returning home, he imparted this reflection to the king. The king, on the next day, conferred the sovereignty on him, saying, "Prince, administer this empire for seven days: at the termination of that period, I shall put thee to death." At the end of the seventh day, the king inquired, "From what cause hast thou become so emaciated?" He answered, "From the horror of death." The monarch rejoined: "Live, my child, and be wise. Thou hast ceased to take recreation, saying to thyself, in seven days I shall be put to death. These priests in the temple incessantly meditate on death; how can they enter into healthful diversions?" But the men of science or the doctors or the clergy are not victims of their pursuits, more than others. The miller, the lawyer, and the merchant, dedicate themselves to their own details, and do not come out men of more force. Have they divination, grand aims, hospitality of soul, and the equality to any event, which we demand in man, or only the reactions of the mill, of the wares, of the chicane?No object really interests us but man, and in man only his superiorities; and, though we are aware of a perfect law in Nature, it has fascination for us only through its relation to him, or, as it is rooted in the mind. At the birth of Winckelmann, more than a hundred years ago, side by side with this arid, departmental,post mortemscience, rose an enthusiasm in the study of Beauty; and perhaps some sparks from it may yet light a conflagration in the other. Knowledge of men, knowledge of manners, the power of form, and our sensibility to personal influence, never go out of fashion. These are facts of a science which we study without book, whose teachers and subjects are always near us.So inveterate is our habit of criticism, that much of our knowledge in this direction belongs to the chapter of pathology. The crowd in the street oftener furnishes degradations than angels or redeemers: but they all prove the transparency. Every spirit makes its house; and we can give a shrewd guess from the house to the inhabitant. But not less does Nature furnish us with every sign of grace and goodness. The delicious faces of children, the beauty of school-girls, "the sweet seriousness of sixteen," the lofty air of well-born, well-bred boys, the passionate histories in the looks and manners of youth and early manhood, and the varied power in all that well-known company that escort us through life,—we know how these forms thrill, paralyze, provoke, inspire, and enlarge us.Beauty is the form under which the intellect prefers to study the world. All privilege is that of beauty; for there are many beauties; as, of general nature, of the human face and form, of manners, of brain, or method, moral beauty, or beauty of the soul.The ancients believed that a genius or demon took possession at birth of each mortal, to guide him; that these genii were sometimes seen as a flame of fire partly immersed in the bodies which they governed;—on an evil man, resting on his head; in a good man, mixed with his substance. They thought the same genius, at the death of its ward, entered a new-born child, and they pretended to guess the pilot, by the sailing of the ship. We recognize obscurely the same fact, though we give it our own names. We say, that every man is entitled to be valued by his best moment. We measure our friends so. We know, they have intervals of folly, whereof we take no heed, but wait the reappearings of the genius, which are sure and beautiful. On the other side, everybody knows people who appear beridden, and who, with all degrees of ability, never impress us with the air of free agency. They know it too, and peep with their eyes to see if you detect their sad plight. We fancy, could we pronounce the solving word, and disenchant them, the cloud would roll up, the little rider would be discovered and unseated, and they would regain their freedom. The remedy seems never to be far off, since the first step into thought lifts this mountain of necessity. Thought is the pent air-ball which can rive the planet, and the beauty which certain objects have for him, is the friendly fire which expands the thought, and acquaints the prisoner that liberty and power await him.The question of Beauty takes us out of surfaces, to thinking of the foundations of things. Goethe said, "The beautiful is a manifestation of secret laws of Nature, which, but for this appearance, had been forever concealed from us." And the working of this deep instinct makes all the excitement—much of it superficial and absurd enough—about works of art, which leads armies of vain travellers every year to Italy, Greece, and Egypt. Every man values every acquisition he makes in the science of beauty, above his possessions. The most useful man in the most useful world, so long as only commodity was served, would remain unsatisfied. But, as fast as he sees beauty, life acquires a very high value.I am warned by the ill fate of many philosophers not to attempt a definition of Beauty. I will rather enumerate a few of its qualities. We ascribe beauty to that which is simple; which has no superfluous parts; which exactly answers its end; which stands related to all things; which is the mean of many extremes. It is the most enduring quality, and the most ascending quality. We say, love is blind, and the figure of Cupid is drawn with a bandage round his eyes. Blind:—yes, because he does not see what he does not like; but the sharpest-sighted hunter in the universe is Love, for finding what he seeks, and only that; and the mythologists tell us, that Vulcan was painted lame, and Cupid blind, to call attention to the fact, that one was all limbs, and the other, all eyes. In the true mythology, Love is an immortal child, and Beauty leads him as a guide: nor can we express a deeper sense than when we say, Beauty is the pilot of the young soul.Beyond their sensuous delight, the forms and colors of Nature have a new charm for us in our perception, that not one ornament was added for ornament, but is a sign of some better health, or more excellent action. Elegance of form in bird or beast, or in the human figure, marks some excellence of structure: or beauty is only an invitation from what belongs to us. 'Tis a law of botany, that in plants, the same virtues follow the same forms. It is a rule of largest application, true in a plant, true in a loaf of bread, that in the construction of any fabric or organism, any real increase of fitness to its end, is an increase of beauty.The lesson taught by the study of Greek and of Gothic art, of antique and of Pre-Raphaelite painting, was worth all the research,—namely, that all beauty must be organic; that outside embellishment is deformity. It is the soundness of the bones that ultimates itself in a peach-bloom complexion: health of constitution that makes the sparkle and the power of the eye. 'Tis the adjustment of the size and of the joining of the sockets of the skeleton, that gives grace of outline and the finer grace of movement. The cat and the deer cannot move or sit inelegantly. The dancing-master can never teach a badly built man to walk well. The tint of the flower proceeds from its root, and the lustres of the sea-shell begin with its existence. Hence our taste in building rejects paint, and all shifts, and shows the original grain of the wood: refuses pilasters and columns that support nothing, and allows the real supporters of the house honestly to show themselves. Every necessary or organic action pleases the beholder. A man leading a horse to water, a farmer sowing seed, the labors of haymakers in the field, the carpenter building a ship, the smith at his forge, or, whatever useful labor, is becoming to the wise eye. But if it is done to be seen, it is mean. How beautiful are ships on the sea! but ships in the theatre,—or ships kept for picturesque effect on Virginia Water, by George IV., and men hired to stand in fitting costumes at a penny an hour!—What a difference in effect between a battalion of troops marching to action, and one of our independent companies on a holiday! In the midst of a military show, and a festal procession gay with banners, I saw a boy seize an old tin pan that lay rusting under a wall, and poising it on the top of a stick, he set it turning, and made it describe the most elegant imaginable curves, and drew away attention from the decorated procession by this startling beauty.Another text from the mythologists. The Greeks fabled that Venus was born of the foam of the sea. Nothing interests us which is stark or bounded, but only what streams with life, what is in act or endeavor to reach somewhat beyond. The pleasure a palace or a temple gives the eye, is, that an order and method has been communicated to stones, so that they speak and geometrize, become tender or sublime with expression. Beauty is the moment of transition, as if the form were just ready to flow into other forms. Any fixedness, heaping, or concentration on one feature,—a long nose, a sharp chin, a hump-back,—is the reverse of the flowing, and therefore deformed. Beautiful as is the symmetry of any form, if the form can move, we seek a more excellent symmetry. The interruption of equilibrium stimulates the eye to desire the restoration of symmetry, and to watch the steps through which it is attained. This is the charm of running water, sea-waves, the flight of birds, and the locomotion of animals. This is the theory of dancing, to recover continually in changes the lost equilibrium, not by abrupt and angular, but by gradual and curving movements. I have been told by persons of experience in matters of taste, that the fashions follow a law of gradation, and are never arbitrary. The new mode is always only a step onward in the same direction as the last mode; and a cultivated eye is prepared for and predicts the new fashion. This fact suggests the reason of all mistakes and offence in our own modes. It is necessary in music, when you strike a discord, to let down the ear by an intermediate note or two to the accord again: and many a good experiment, born of good sense, and destined to succeed, fails, only because it is offensively sudden. I suppose, the Parisian milliner who dresses the world from her imperious boudoir will know how to reconcile the Bloomer costume to the eye of mankind, and make it triumphant over Punch himself, by interposing the just gradations. I need not say, how wide the same law ranges; and how much it can be hoped to effect. All that is a little harshly claimed by progressive parties, may easily come to be conceded without question, if this rule be observed. Thus the circumstances may be easily imagined, in which woman may speak, vote, argue causes, legislate, and drive a coach, and all the most naturally in the world, if only it come by degrees. To this streaming or flowing belongs the beauty that all circular movement has; as, the circulation of waters, the circulation of the blood, the periodical motion of planets, the annual wave of vegetation, the action and reaction of Nature: and, if we follow it out, this demand in our thought for an ever-onward action, is the argument for the immortality.One more text from the mythologists is to the same purpose,—Beauty rides on a lion. Beauty rests on necessities. The line of beauty is the result of perfect economy. The cell of the bee is built at that angle which gives the most strength with the least wax; the bone or the quill of the bird gives the most alar strength, with the least weight. "It is the purgation of superfluities," said Michel Angelo. There is not a particle to spare in natural structures. There is a compelling reason in the uses of the plant, for every novelty of color or form: and our art saves material, by more skilful arrangement, and reaches beauty by taking every superfluous ounce that can be spared from a wall, and keeping all its strength in the poetry of columns. In rhetoric, this art of omission is a chief secret of power, and, in general, it is proof of high culture, to say the greatest matters in the simplest way.Veracity first of all, and forever.Rien de beau que le vrai. In all design, art lies in making your object prominent, but there is a prior art in choosing objects that are prominent. The fine arts have nothing casual, but spring from the instincts of the nations that created them.Beauty is the quality which makes to endure. In a house that I know, I have noticed a block of spermaceti lying about closets and mantel-pieces, for twenty years together, simply because the tallow-man gave it the form of a rabbit; and, I suppose, it may continue to be lugged about unchanged for a century. Let an artist scrawl a few lines or figures on the back of a letter, and that scrap of paper is rescued from danger, is put in portfolio, is framed and glazed, and, in proportion to the beauty of the lines drawn, will be kept for centuries. Burns writes a copy of verses, and sends them to a newspaper, and the human race take charge of them that they shall not perish.As the flute is heard farther than the cart, see how surely a beautiful form strikes the fancy of men, and is copied and reproduced without end. How many copies are there of the Belvedere Apollo, the Venus, the Psyche, the Warwick Vase, the Parthenon, and the Temple of Vesta? These are objects of tenderness to all. In our cities, an ugly building is soon removed, and is never repeated, but any beautiful building is copied and improved upon, so that all masons and carpenters work to repeat and preserve the agreeable forms, whilst the ugly ones die out.The felicities of design in art, or in works of Nature, are shadows or forerunners of that beauty which reaches its perfection in the human form. All men are its lovers. Wherever it goes, it creates joy and hilarity, and everything is permitted to it. It reaches its height in woman. "To Eve," say the Mahometans, "God gave two thirds of all beauty." A beautiful woman is a practical poet, taming her savage mate, planting tenderness, hope, and eloquence, in all whom she approaches. Some favors of condition must go with it, since a certain serenity is essential, but we love its reproofs and superiorities. Nature wishes that woman should attract man, yet she often cunningly moulds into her face a little sarcasm, which seems to say, 'Yes, I am willing to attract, but to attract a little better kind of a man than any I yet behold.' Frenchmémoiresof the fifteenth century celebrate the name of Pauline de Viguiere, a virtuous and accomplished maiden, who so fired the enthusiasm of her contemporaries, by her enchanting form, that the citizens of her native city of Toulouse obtained the aid of the civil authorities to compel her to appear publicly on the balcony at least twice a week, and, as often as she showed herself, the crowd was dangerous to life. Not less, in England, in the last century, was the fame of the Gunnings, of whom, Elizabeth married the Duke of Hamilton; and Maria, the Earl of Coventry. Walpole says, "the concourse was so great, when the Duchess of Hamilton was presented at court, on Friday, that even the noble crowd in the drawing-room clambered on chairs and tables to look at her. There are mobs at their doors to see them get into their chairs, and people go early to get places at the theatres, when it is known they will be there." "Such crowds," he adds, elsewhere, "flock to see the Duchess of Hamilton, that seven hundred people sat up all night, in and about an inn, in Yorkshire, to see her get into her post-chaise next morning."But why need we console ourselves with the fames of Helen of Argos, or Corinna, or Pauline of Toulouse, or the Duchess of Hamilton? We all know this magic very well, or can divine it. It does not hurt weak eyes to look into beautiful eyes never so long. Women stand related to beautiful Nature around us, and the enamored youth mixes their form with moon and stars, with woods and waters, and the pomp of summer. They heal us of awkwardness by their words and looks. We observe their intellectual influence on the most serious student. They refine and clear his mind; teach him to put a pleasing method into what is dry and difficult. We talk to them, and wish to be listened to; we fear to fatigue them, and acquire a facility of expression which passes from conversation into habit of style.That Beauty is the normal state, is shown by the perpetual effort of Nature to attain it. Mirabeau had an ugly face on a handsome ground; and we see faces every day which have a good type, but have been marred in the casting: a proof that we are all entitled to beauty, should have been beautiful, if our ancestors had kept the laws,—as every lily and every rose is well. But our bodies do not fit us, but caricature and satirize us. Thus, short legs, which constrain us to short, mincing steps, are a kind of personal insult and contumely to the owner; and long stilts, again, put him at perpetual disadvantage, and force him to stoop to the general level of mankind. Martial ridicules a gentleman of his day whose countenance resembled the face of a swimmer seen under water. Saadi describes a schoolmaster "so ugly and crabbed, that a sight of him would derange the ecstasies of the orthodox." Faces are rarely true to any ideal type, but are a record in sculpture of a thousand anecdotes of whim and folly. Portrait painters say that most faces and forms are irregular and unsymmetrical; have one eye blue, and one gray; the nose not straight; and one shoulder higher than another; the hair unequally distributed, etc. The man is physically as well as metaphysically a thing of shreds and patches, borrowed unequally from good and bad ancestors, and a misfit from the start.A beautiful person, among the Greeks, was thought to betray by this sign some secret favor of the immortal gods: and we can pardon pride, when a woman possesses such a figure, that wherever she stands, or moves, or leaves a shadow on the wall, or sits for a portrait to the artist, she confers a favor on the world. And yet—it is not beauty that inspires the deepest passion. Beauty without grace is the hook without the bait. Beauty, without expression, tires. Abbé Ménage said of the President Le Bailleul, "that he was fit for nothing but to sit for his portrait." A Greek epigram intimates that the force of love is not shown by the courting of beauty, but when the like desire is inflamed for one who is ill-favored. And petulant old gentlemen, who have chanced to suffer some intolerable weariness from pretty people, or who have seen cut flowers to some profusion, or who see, after a world of pains have been successfully taken for the costume, how the least mistake in sentiment takes all the beauty out of your clothes,—affirm, that the secret of ugliness consists not in irregularity, but in being uninteresting.We love any forms, however ugly, from which great qualities shine. If command, eloquence, art, or invention, exist in the most deformed person, all the accidents that usually displease, please, and raise esteem and wonder higher. The great orator was an emaciated, insignificant person, but he was all brain. Cardinal De Retz says of De Bouillon, "With the physiognomy of an ox, he had the perspicacity of an eagle." It was said of Hooke, the friend of Newton, "he is the most, and promises the least, of any man in England." "Since I am so ugly," said Du Guesclin, "it behooves that I be bold." Sir Philip Sidney, the darling of mankind, Ben Jonson tells us, "was no pleasant man in countenance, his face being spoiled with pimples, and of high blood, and long." Those who have ruled human destinies, like planets, for thousands of years, were not handsome men. If a man can raise a small city to be a great kingdom, can make bread cheap, can irrigate deserts, can join oceans by canals, can subdue steam, can organize victory, can lead the opinions of mankind, can enlarge knowledge, 'tis no matter whether his nose is parallel to his spine, as it ought to be, or whether he has a nose at all: whether his legs are straight, or whether his legs are amputated; his deformities will come to be reckoned ornamental, and advantageous on the whole. This is the triumph of expression, degrading beauty, charming us with a power so fine and friendly and intoxicating, that it makes admired persons insipid, and the thought of passing our lives with them insupportable. There are faces so fluid with expression, so flushed and rippled by the play of thought, that we can hardly find what the mere features really are. When the delicious beauty of lineaments loses its power, it is because a more delicious beauty has appeared; that an interior and durable form has been disclosed. Still, Beauty rides on her lion, as before. Still, "it was for beauty that the world was made." The lives of the Italian artists, who established a despotism of genius amidst the dukes and kings and mobs of their stormy epoch, prove how loyal men in all times are to a finer brain, a finer method, than their own. If a man can cut such a head on his stone gate-post as shall draw and keep a crowd about it all day, by its beauty, good nature, and inscrutable meaning:—if a man can build a plain cottage with such symmetry, as to make all the fine palaces look cheap and vulgar; can take such advantage of Nature, that all her powers serve him; making use of geometry, instead of expense; tapping a mountain for his water-jet; causing the sun and moon to seem only the decorations of his estate; this is still the legitimate dominion of beauty.The radiance of the human form, though sometimes astonishing, is only a burst of beauty for a few years or a few months, at the perfection of youth, and in most, rapidly declines. But we remain lovers of it, only transferring our interest to interior excellence. And it is not only admirable in singular and salient talents, but also in the world of manners.But the sovereign attribute remains to be noted. Things are pretty, graceful, rich, elegant, handsome, but, until they speak to the imagination, not yet beautiful. This is the reason why beauty is still escaping out of all analysis. It is not yet possessed, it cannot be handled. Proclus says, "it swims on the light of forms." It is properly not in the form, but in the mind. It instantly deserts possession, and flies to an object in the horizon. If I could put my hand on the north star, would it be as beautiful? The sea is lovely, but when we bathe in it, the beauty forsakes all the near water. For the imagination and senses cannot be gratified at the same time. Wordsworth rightly speaks of "a light that never was on sea or land," meaning, that it was supplied by the observer, and the Welsh bard warns his countrywomen, that—"half of their charms with Cadwallon shall die."The new virtue which constitutes a thing beautiful, is a certain cosmical quality, or, a power to suggest relation to the whole world, and so lift the object out of a pitiful individuality. Every natural feature,—sea, sky, rainbow, flowers, musical tone,—has in it somewhat which is not private, but universal, speaks of that central benefit which is the soul of Nature, and thereby is beautiful. And, in chosen men and women, I find somewhat in form, speech, and manners, which is not of their person and family, but of a humane, catholic, and spiritual character, and we love them as the sky. They have a largeness of suggestion, and their face and manners carry a certain grandeur, like time and justice.The feat of the imagination is in showing the convertibility of every thing into every other thing. Facts which had never before left their stark common sense, suddenly figure as Eleusinian mysteries. My boots and chair and candlestick are fairies in disguise, meteors and constellations. All the facts in Nature are nouns of the intellect, and make the grammar of the eternal language. Every word has a double, treble, or centuple use and meaning, What! has my stove and pepper-pot a false bottom! I cry you mercy, good shoe-box! I did not know you were a jewel-case. Chaff and dust begin to sparkle, and are clothed about with immortality. And there is a joy in perceiving the representative or symbolic character of a fact, which no bare fact or event can ever give. There are no days in life so memorable as those which vibrated to some stroke of the imagination.The poets are quite right in decking their mistresses with the spoils of the landscape, flower-gardens, gems, rainbows, flushes of morning, and stars of night, since all beauty points at identity, and whatsoever thing does not express to me the sea and sky, day and night, is somewhat forbidden and wrong. Into every beautiful object, there enters somewhat immeasurable and divine, and just as much into form bounded by outlines, like mountains on the horizon, as into tones of music, or depths of space. Polarized light showed the secret architecture of bodies; and when thesecond-sightof the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.The laws of this translation we do not know, or why one feature or gesture enchants, why one word or syllable intoxicates, but the fact is familiar that the fine touch of the eye, or a grace of manners, or a phrase of poetry, plants wings at our shoulders; as if the Divinity, in his approaches, lifts away mountains of obstruction, and deigns to draw a truer line, which the mind knows and owns. This is that haughty force of beauty, "vis superba formæ" which the poets praise,—under calm and precise outline, the immeasurable and divine: Beauty hiding all wisdom and power in its calm sky.All high beauty has a moral element in it, and I find the antique sculpture as ethical as Marcus Antoninus: and the beauty ever in proportion to the depth of thought. Gross and obscure natures, however decorated, seem impure shambles; but character gives splendor to youth, and awe to wrinkled skin and gray hairs. An adorer of truth we cannot choose but obey, and the woman who has shared with us the moral sentiment,—her locks must appear to us sublime. Thus there is a climbing scale of culture, from the first agreeable sensation which a sparkling gem or a scarlet stain affords the eye, up through fair outlines and details of the landscape, features of the human face and form, signs and tokens of thought and character in manners, up to the ineffable mysteries of the intellect. Wherever we begin, thither our steps tend: an ascent from the joy of a horse in his trappings, up to the perception of Newton, that the globe on which we ride is only a larger apple falling from a larger tree; up to the perception of Plato, that globe and universe are rude and early expressions of an all-dissolving Unity,—the first stair on the scale to the temple of the Mind.IX.ILLUSIONSFlow, flow the waves hated,Accursed, adored,The waves of mutation:No anchorage is.Sleep is not, death is not;Who seem to die live.House you were born in,Friends of your spring-time,Old man and young maid,Day's toil and its guerdon,They are all vanishing,Fleeing to fables,Cannot be moored.See the stars through them,Through treacherous marbles.Know, the stars yonder,The stars everlasting,Are fugitive also,And emulate, vaulted,The lambent heat-lightning,And fire-fly's flight.When thou dost returnOn the wave's circulation,Beholding the shimmer,The wild dissipation,And, out of endeavorTo change and to flow,The gas become solid,And phantoms and nothingsReturn to be things,And endless imbroglioIs law and the world,—Then first shalt thou know,That in the wild turmoil,Horsed on the Proteus,Thou ridest to power,And to endurance.ILLUSIONS.Some years ago, in company with an agreeable party, I spent a long summer day in exploring the Mammoth Cave in Kentucky. We traversed, through spacious galleries affording a solid masonry foundation for the town and county overhead, the six or eight black miles from the mouth of the cavern to the innermost recess which tourists visit,—a niche or grotto made of one seamless stalactite, and called, I believe, Serena's Bower. I lost the light of one day. I saw high domes, and bottomless pits; heard the voice of unseen waterfalls; paddled three quarters of a mile in the deep Echo River, whose waters are peopled with the blind fish; crossed the streams "Lethe" and "Styx;" plied with music and guns the echoes in these alarming galleries; saw every form of stalagmite and stalactite in the sculptured and fretted chambers,—icicle, orange-flower, acanthus, grapes, and snowball. We shot Bengal lights into the vaults and groins of the sparry cathedrals, and examined all the masterpieces which the four combined engineers, water, limestone, gravitation, and time, could make in the dark.The mysteries and scenery of the cave had the same dignity that belongs to all natural objects, and which shames the fine things to which we foppishly compare them. I remarked, especially, the mimetic habit, with which Nature, on new instruments, hums her old tunes, making night to mimic day, and chemistry to ape vegetation. But I then took notice, and still chiefly remember, that the best thing which the cave had to offer was an illusion. On arriving at what is called the "Star-Chamber," our lamps were taken from us by the guide, and extinguished or put aside, and, on looking upwards, I saw or seemed to see the night heaven thick with stars glimmering more or less brightly over our heads, and even what seemed a comet flaming among them. All the party were touched with astonishment and pleasure. Our musical friends sung with much feeling a pretty song, "The stars are in the quiet sky," &c., and I sat down on the rocky floor to enjoy the serene picture. Some crystal specks in the black ceiling high overhead, reflecting the light of a half-hid lamp, yielded this magnificent effect.I own, I did not like the cave so well for eking out its sublimities with this theatrical trick. But I have had many experiences like it, before and since; and we must be content to be pleased without too curiously analyzing the occasions. Our conversation with Nature is not just what it seems. The cloud-rack, the sunrise and sunset glories, rainbows, and northern lights are not quite so spheral as our childhood thought them; and the part our organization plays in them is too large. The senses interfere everywhere, and mix their own structure with all they report of. Once, we fancied the earth a plane, and stationary. In admiring the sunset, we do not yet deduct the rounding, coordinating, pictorial powers of the eye.The same interference from our organization creates the most of our pleasure and pain. Our first mistake is the belief that the circumstance gives the joy which we give to the circumstance. Life is an ecstasy. Life is sweet as nitrous oxide; and the fisherman dripping all day over a cold pond, the switchman at the railway intersection, the farmer in the field, the negro in the rice-swamp, the fop in the street, the hunter in the woods, the barrister with the jury, the belle at the ball, all ascribe a certain pleasure to their employment, which they themselves give it. Health and appetite impart the sweetness to sugar, bread, and meat. We fancy that our civilization has got on far, but we still come back to our primers.We live by our imaginations, by our admirations, by our sentiments. The child walks amid heaps of illusions, which he does not like to have disturbed. The boy, how sweet to him is his fancy! how dear the story of barons and battles! What a hero he is, whilst he feeds on his heroes! What a debt is his to imaginative books! He has no better friend or influence, than Scott, Shakspeare, Plutarch, and Homer. The man lives to other objects, but who dare affirm that they are more real? Even the prose of the streets is full of refractions. In the life of the dreariest alderman, fancy enters into all details, and colors them with rosy hue. He imitates the air and actions of people whom he admires, and is raised in his own eyes. He pays a debt quicker to a rich man than to a poor man. He wishes the bow and compliment of some leader in the state, or in society; weighs what he says; perhaps he never comes nearer to him for that, but dies at last better contented for this amusement of his eyes and his fancy.The world rolls, the din of life is never hushed. In London, in Paris, in Boston, in San Francisco, the carnival, the masquerade is at its height. Nobody drops his domino. The unities, the fictions of the piece it would be an impertinence to break. The chapter of fascinations is very long. Great is paint; nay, God is the painter; and we rightly accuse the critic who destroys too many illusions. Society does not love its unmaskers. It was wittily, if somewhat bitterly, said by D'Alembert, "qu'un état de vapeur était un état trés fâchieux, parcequ'il nous faisait voir les choses comme elles sont." I find men victims of illusion in all parts of life. Children, youths, adults, and old men, all are led by one bawble or another. Yoganidra, the goddess of illusion, Proteus, or Momus, or Gylfi's Mocking,—for the Power has many names,—is stronger than the Titans, stronger than Apollo. Few have overheard the gods, or surprised their secret. Life is a succession of lessons which must be lived to be understood. All is riddle, and the key to a riddle is another riddle. There are as many pillows of illusion as flakes in a snow-storm. We wake from one dream into another dream. The toys, to be sure, are various, and are graduated in refinement to the quality of the dupe. The intellectual man requires a fine bait; the sots are easily amused. But everybody is drugged with his own frenzy, and the pageant marches at all hours, with music and banner and badge.Amid the joyous troop who give in to the charivari, comes now and then a sad-eyed boy, whose eyes lack the requisite refractions to clothe the show in due glory, and who is afflicted with a tendency to trace home the glittering miscellany of fruits and flowers to one root. Science is a search after identity, and the scientific whim is lurking in all corners. At the State Fair, a friend of mine complained that all the varieties of fancy pears in our orchards seem to have been selected by somebody who had a whim for a particular kind of pear, and only cultivated such as had that perfume; they were all alike. And I remember the quarrel of another youth with the confectioners, that, when he racked his wit to choose the best comfits in the shops, in all the endless varieties of sweetmeat he could only find three flavors, or two. What then? Pears and cakes are good for something; and because you, unluckily, have an eye or nose too keen, why need you spoil the comfort which the rest of us find in them? I knew a humorist, who, in a good deal of rattle, had a grain or two of sense. He shocked the company by maintaining that the attributes of God were two,—power and risibility; and that it was the duty of every pious man to keep up the comedy. And I have known gentlemen of great stake in the community, but whose sympathies were cold,—presidents of colleges, and governors, and senators,—who held themselves bound to sign every temperance pledge, and act with Bible societies, and missions, and peace-makers, and cryHist-a-boy!to every good dog. We must not carry comity too far, but we all have kind impulses in this direction. When the boys come into my yard for leave to gather horse-chestnuts, I own I enter into Nature's game, and affect to grant the permission reluctantly, fearing that any moment they will find out the imposture of that showy chaff. But this tenderness is quite unnecessary; the enchantments are laid on very thick. Their young life is thatched with them. Bare and grim to tears is the lot of the children in the hovel I saw yesterday; yet not the less they hung it round with frippery romance, like the children of the happiest fortune, and talked of "the dear cottage where so many joyful hours had flown." Well, this thatching of hovels is the custom of the country. Women, more than all, are the element and kingdom of illusion. Being fascinated, they fascinate. They see through Claude-Lorraines. And how dare any one, if he could, pluck away thecoulisses, stage effects, and ceremonies, by which they live? Too pathetic, too pitiable, is the region of affection, and its atmosphere always liable tomirage.We are not very much to blame for our bad marriages. We live amid hallucinations; and this especial trap is laid to trip up our feet with, and all are tripped up first or last. But the mighty Mother who had been so sly with us, as if she felt that she owed us some indemnity, insinuates into the Pandora-box of marriage some deep and serious benefits, and some great joys. We find a delight in the beauty and happiness of children, that makes the heart too big for the body. In the worst-assorted connections there is ever some mixture of true marriage. Teague and his jade get some just relations of mutual respect, kindly observation, and fostering of each other, learn something, and would carry themselves wiselier, if they were now to begin.'Tis fine for us to point at one or another fine madman, as if there were any exempts. The scholar in his library is none. I, who have all my life heard any number of orations and debates, read poems and miscellaneous books, conversed with many geniuses, am still the victim of any new page; and, if Marmaduke, or Hugh, or Moosehead, or any other, invent a new style or mythology, I fancy that the world will be all brave and right, if dressed in these colors, which I had not thought of. Then at once I will daub with this new paint; but it will not stick. 'Tis like the cement which the peddler sells at the door; he makes broken crockery hold with it, but you can never buy of him a bit of the cement which will make it hold when he is gone.Men who make themselves felt in the world avail themselves of a certain fate in their constitution, which they know how to use. But they never deeply interest us, unless they lift a corner of the curtain, or betray never so slightly their penetration of what is behind it. 'Tis the charm of practical men, that outside of their practicality are a certain poetry and play, as if they led the good horse Power by the bridle, and preferred to walk, though they can ride so fiercely. Bonaparte is intellectual, as well as Cæsar; and the best soldiers, sea-captains, and railway men have a gentleness, when off duty; a good-natured admission that there are illusions, and who shall say that he is not their sport? We stigmatize the cast-iron fellows, who cannot so detach themselves, as "dragon-ridden," "thunder-stricken," and fools of fate, with whatever powers endowed.Since our tuition is through emblems and indirections, 'tis well to know that there is method in it, a fixed scale, and rank above rank in the phantasms. We begin low with coarse masks, and rise to the most subtle and beautiful. The red men told Columbus, "they had an herb which took away fatigue;" but he found the illusion of "arriving from the east at the Indies" more composing to his lofty spirit than any tobacco. Is not our faith in the impenetrability of matter more sedative than narcotics? You play with jackstraws, balls, bowls, horse and gun, estates and politics; but there are finer games before you. Is not time a pretty toy? Life will show you masks that are worth all your carnivals. Yonder mountain must migrate into your mind. The fine star-dust and nebulous blur in Orion, "the portentous year of Mizar and Alcor," must come down and be dealt with in your household thought. What if you shall come to discern that the play and playground of all this pompous history are radiations from yourself, and that the sun borrows his beams? What terrible questions we are learning to ask! The former men believed in magic, by which temples, cities, and men were swallowed up, and all trace of them gone. We are coming on the secret of a magic which sweeps out of men's minds all vestige of theism and beliefs which they and their fathers held and were framed upon.There are deceptions of the senses, deceptions of the passions, and the structural, beneficent illusions of sentiment and of the intellect. There is the illusion of love, which attributes to the beloved person all which that person shares with his or her family, sex, age, or condition, nay, with the human mind itself. 'Tis these which the lover loves, and Anna Matilda gets the credit of them. As if one shut up always in a tower, with one window, through which the face of heaven and earth could be seen, should fancy that all the marvels he beheld belonged to that window. There is the illusion of time, which is very deep; who has disposed of it? or come to the conviction that what seems the succession of thought is only the distribution of wholes into causal series? The intellect sees that every atom carries the whole of Nature; that the mind opens to omnipotence; that, in the endless striving and ascents, the metamorphosis is entire, so that the soul doth not know itself in its own act, when that act is perfected. There is illusion that shall deceive even the elect. There is illusion that shall deceive even the performer of the miracle. Though he make his body, he denies that he makes it. Though the world exist from thought, thought is daunted in presence of the world. One after the other we accept the mental laws, still resisting those which follow, which however must be accepted. But all our concessions only compel us to new profusion. And what avails it that science has come to treat space and time as simply forms of thought, and the material world as hypothetical, and withal our pretension of property and even of self-hood are fading with the rest, if, at last, even our thoughts are not finalities; but the incessant flowing and ascension reach these also, and each thought which yesterday was a finality, to-day is yielding to a larger generalization?With such volatile elements to work in, 'tis no wonder if our estimates are loose and floating. We must work and affirm, but we have no guess of the value of what we say or do. The cloud is now as big as your hand, and now it covers a county. That story of Thor, who was set to drain the drinking-horn in Asgard, and to wrestle with the old woman, and to run with the runner Lok, and presently found that he had been drinking up the sea, and wrestling with Time, and racing with Thought, describes us who are contending, amid these seeming trifles, with the supreme energies of Nature. We fancy we have fallen into bad company and squalid condition, low debts, shoe-bills, broken glass to pay for, pots to buy, butcher's meat, sugar, milk, and coal. 'Set me some great task, ye gods! and I will show my spirit.' 'Not so,' says the good Heaven; 'plod and plough, vamp your old coats and hats, weave a shoestring; great affairs and the best wine by and by.' Well, 'tis all phantasm; and if we weave a yard of tape in all humility, and as well as we can, long hereafter we shall see it was no cotton tape at all, but some galaxy which we braided, and that the threads were Time and Nature.We cannot write the order of the variable winds. How can we penetrate the law of our shifting moods and susceptibility? Yet they differ as all and nothing. Instead of the firmament of yesterday, which our eyes require, it is to-day an eggshell which coops us in; we cannot even see what or where our stars of destiny are. From day to day, the capital facts of human life are hidden from our eyes. Suddenly the mist rolls up, and reveals them, and we think how much good time is gone, that might have been saved, had any hint of these things been shown. A sudden rise in the road shows us the system of mountains, and all the summits, which have been just as near us all the year, but quite out of mind. But these alternations are not without their order, and we are parties to our various fortune. If life seem a succession of dreams, yet poetic justice is done in dreams also. The visions of good men are good; it is the undisciplined will that is whipped with bad thoughts and bad fortunes. When we break the laws, we lose our hold on the central reality. Like sick men in hospitals, we change only from bed to bed, from one folly to another; and it cannot signify much what becomes of such castaways,—wailing, stupid, comatose creatures,—lifted from bed to bed, from the nothing of life to the nothing of death.In this kingdom of illusions we grope eagerly for stays and foundations. There is none but a strict and faithful dealing at home, and a severe barring out of all duplicity or illusion there. Whatever games are played with us, we must play no games with ourselves, but deal in our privacy with the last honesty and truth. I look upon the simple and childish virtues of veracity and honesty as the root of all that is sublime in character. Speak as you think, be what you are, pay your debts of all kinds. I prefer to be owned as sound and solvent, and my word as good as my bond, and to be what cannot be skipped, or dissipated, or undermined, to all theéclatin the universe. This reality is the foundation of friendship, religion, poetry, and art. At the top or at the bottom of all illusions, I set the cheat which still leads us to work and live for appearances, in spite of our conviction, in all sane hours, that it is what we really are that avails with friends, with strangers, and with fate or fortune.One would think from the talk of men, that riches and poverty were a great matter; and our civilization mainly respects it. But the Indians say, that they do not think the white man with his brow of care, always toiling, afraid of heat and cold, and keeping within doors, has any advantage of them. The permanent interest of every man is, never to be in a false position, but to have the weight of Nature to back him in all that he does. Riches and poverty are a thick or thin costume; and our life—the life of all of us—identical. For we transcend the circumstance continually, and taste the real quality of existence; as in our employments, which only differ in the manipulations, but express the same laws; or in our thoughts, which wear no silks, and taste no ice-creams. We see God face to face every hour, and know the savor of Nature.The early Greek philosophers Heraclitus and Xenophanes measured their force on this problem of identity. Diogenes of Apollonia said, that unless the atoms were made of one stuff, they could never blend and act with one another. But the Hindoos, in their sacred writings, express the liveliest feeling, both of the essential identity, and of that illusion which they conceive variety to be "The notions, 'I am,' and 'This is mine,' which influence mankind, are but delusions of the mother of the world. Dispel, O Lord of all creatures! the conceit of knowledge which proceeds from ignorance." And the beatitude of man they hold to lie in being freed from fascination.The intellect is stimulated by the statement of truth in a trope, and the will by clothing the laws of life in illusions. But the unities of Truth and of Right are not broken by the disguise. There need never be any confusion in these. In a crowded life of many parts and performers, on a stage of nations, or in the obscurest hamlet in Maine or California, the same elements offer the same choices to each new comer, and, according to his election, he fixes his fortune in absolute Nature. It would be hard to put more mental and moral philosophy than the Persians have thrown into a sentence:—"Fooled thou must be, though wisest of the wise:Then be the fool of virtue, not of vice."There is no chance, and no anarchy, in the universe. All is system and gradation. Every god is there sitting in his sphere. The young mortal enters the hall of the firmament: there is he alone with them alone, they pouring on him benedictions and gifts, and beckoning him up to their thrones. On the instant, and incessantly, fall snow-storms of illusions. He fancies himself in a vast crowd which sways this way and that, and whose movement and doings he must obey: he fancies himself poor, orphaned, insignificant. The mad crowd drives hither and thither, now furiously commanding this thing to be done, now that. What is he that he should resist their will, and think or act for himself? Every moment, new changes, and new showers of deceptions, to baffle and distract him. And when, by and by, for an instant, the air clears, and the cloud lifts a little, there are the gods still sitting around him on their thrones,—they alone with him alone.
VIII.
BEAUTY.
Was never form and never faceSo sweet to SEYD as only graceWhich did not slumber like a stoneBut hovered gleaming and was gone.Beauty chased he everywhere,In flame, in storm, in clouds of air.He smote the lake to feed his eyeWith the beryl beam of the broken waveHe flung in pebbles well to hearThe moment's music which they gave.Oft pealed for him a lofty toneFrom nodding pole and belting zone.He heard a voice none else could hearFrom centred and from errant sphere.The quaking earth did quake in rhyme,Seas ebbed and flowed in epic chime.In dens of passion, and pits of wo,He saw strong Eros struggling through,To sun the dark and solve the curse,And beam to the bounds of the universe.While thus to love he gave his daysIn loyal worship, scorning praise,How spread their lures for him, in vain,Thieving Ambition and paltering Gain!He thought it happier to be dead,To die for Beauty, than live for bread.
Was never form and never faceSo sweet to SEYD as only graceWhich did not slumber like a stoneBut hovered gleaming and was gone.Beauty chased he everywhere,In flame, in storm, in clouds of air.He smote the lake to feed his eyeWith the beryl beam of the broken waveHe flung in pebbles well to hearThe moment's music which they gave.Oft pealed for him a lofty toneFrom nodding pole and belting zone.He heard a voice none else could hearFrom centred and from errant sphere.The quaking earth did quake in rhyme,Seas ebbed and flowed in epic chime.In dens of passion, and pits of wo,He saw strong Eros struggling through,To sun the dark and solve the curse,And beam to the bounds of the universe.While thus to love he gave his daysIn loyal worship, scorning praise,How spread their lures for him, in vain,Thieving Ambition and paltering Gain!He thought it happier to be dead,To die for Beauty, than live for bread.
Was never form and never face
So sweet to SEYD as only grace
Which did not slumber like a stone
But hovered gleaming and was gone.
Beauty chased he everywhere,
In flame, in storm, in clouds of air.
He smote the lake to feed his eye
With the beryl beam of the broken wave
With the beryl beam of the broken wave
He flung in pebbles well to hear
The moment's music which they gave.
The moment's music which they gave.
Oft pealed for him a lofty tone
From nodding pole and belting zone.
He heard a voice none else could hear
From centred and from errant sphere.
The quaking earth did quake in rhyme,
Seas ebbed and flowed in epic chime.
In dens of passion, and pits of wo,
He saw strong Eros struggling through,
To sun the dark and solve the curse,
And beam to the bounds of the universe.
While thus to love he gave his days
In loyal worship, scorning praise,
How spread their lures for him, in vain,
Thieving Ambition and paltering Gain!
He thought it happier to be dead,
To die for Beauty, than live for bread.
BEAUTY.
The spiral tendency of vegetation infects education also. Our books approach very slowly the things we most wish to know. What a parade we make of our science, and how far off, and at arm's length, it is from its objects! Our botany is all names, not powers: poets and romancers talk of herbs of grace and healing; but what does the botanist know of the virtues of his weeds? The geologist lays bare the strata, and can tell them all on his fingers: but does he know what effect passes into the man who builds his house in them? what effect on the race that inhabits a granite shelf? what on the inhabitants of marl and of alluvium?
We should go to the ornithologist with a new feeling, if he could teach us what the social birds say, when they sit in the autumn council, talking together in the trees. The want of sympathy makes his record a dull dictionary. His result is a dead bird. The bird is not in its ounces and inches, but in its relations to Nature; and the skin or skeleton you show me, is no more a heron, than a heap of ashes or a bottle of gases into which his body has been reduced, is Dante or Washington. The naturalist is ledfromthe road by the whole distance of his fancied advance. The boy had juster views when he gazed at the shells on the beach, or the flowers in the meadow, unable to call them by their names, than the man in the pride of his nomenclature. Astrology interested us, for it tied man to the system. Instead of an isolated beggar, the farthest star felt him, and he felt the star. However rash and however falsified by pretenders and traders in it, the hint was true and divine, the soul's avowal of its large relations, and, that climate, century, remote natures, as well as near, are part of its biography. Chemistry takes to pieces, but it does not construct. Alchemy which sought to transmute one element into another, to prolong life, to arm with power,—that was in the right direction. All our science lacks a human side. The tenant is more than the house. Bugs and stamens and spores, on which we lavish so many years, are not finalities, and man, when his powers unfold in order, will take Nature along with him, and emit light into all her recesses. The human heart concerns us more than the poring into microscopes, and is larger than can be measured by the pompous figures of the astronomer.
We are just so frivolous and skeptical. Men hold themselves cheap and vile: and yet a man is a fagot of thunderbolts. All the elements pour through his system: he is the flood of the flood, and fire of the fire; he feels the antipodes and the pole, as drops of his blood: they are the extension of his personality. His duties are measured by that instrument he is; and a right and perfect man would be felt to the centre of the Copernican system. 'Tis curious that we only believe as deep as we live. We do not think heroes can exert any more awful power than that surface-play which amuses us. A deep man believes in miracles, waits for them, believes in magic, believes that the orator will decompose his adversary; believes that the evil eye can wither, that the heart's blessing can heal; that love can exalt talent; can overcome all odds. From a great heart secret magnetisms flow incessantly to draw great events. But we prize very humble utilities, a prudent husband, a good son, a voter, a citizen, and deprecate any romance of character; and perhaps reckon only his money value,—his intellect, his affection, as a sort of bill of exchange, easily convertible into fine chambers, pictures, music, and wine.
The motive of science was the extension of man, on all sides, into Nature, till his hands should touch the stars, his eyes see through the earth, his ears understand the language of beast and bird, and the sense of the wind; and, through his sympathy, heaven and earth should talk with him. But that is not our science. These geologies, chemistries, astronomies, seem to make wise, but they leave us where they found us. The invention is of use to the inventor, of questionable help to any other. The formulas of science are like the papers in your pocket-book, of no value to any but the owner. Science in England, in America, is jealous of theory, hates the name of love and moral purpose. There's a revenge for this inhumanity. What manner of man does science make? The boy is not attracted. He says, I do not wish to be such a kind of man as my professor is. The collector has dried all the plants in his herbal, but he has lost weight and humor. He has got all snakes and lizards in his phials, but science has done for him also, and has put the man into a bottle. Our reliance on the physician is a kind of despair of ourselves. The clergy have bronchitis, which does not seem a certificate of spiritual health. Macready thought it came of thefalsettoof their voicing. An Indian prince, Tisso, one day riding in the forest, saw a herd of elk sporting. "See how happy," he said, "these browsing elks are! Why should not priests, lodged and fed comfortably in the temples, also amuse themselves?" Returning home, he imparted this reflection to the king. The king, on the next day, conferred the sovereignty on him, saying, "Prince, administer this empire for seven days: at the termination of that period, I shall put thee to death." At the end of the seventh day, the king inquired, "From what cause hast thou become so emaciated?" He answered, "From the horror of death." The monarch rejoined: "Live, my child, and be wise. Thou hast ceased to take recreation, saying to thyself, in seven days I shall be put to death. These priests in the temple incessantly meditate on death; how can they enter into healthful diversions?" But the men of science or the doctors or the clergy are not victims of their pursuits, more than others. The miller, the lawyer, and the merchant, dedicate themselves to their own details, and do not come out men of more force. Have they divination, grand aims, hospitality of soul, and the equality to any event, which we demand in man, or only the reactions of the mill, of the wares, of the chicane?
No object really interests us but man, and in man only his superiorities; and, though we are aware of a perfect law in Nature, it has fascination for us only through its relation to him, or, as it is rooted in the mind. At the birth of Winckelmann, more than a hundred years ago, side by side with this arid, departmental,post mortemscience, rose an enthusiasm in the study of Beauty; and perhaps some sparks from it may yet light a conflagration in the other. Knowledge of men, knowledge of manners, the power of form, and our sensibility to personal influence, never go out of fashion. These are facts of a science which we study without book, whose teachers and subjects are always near us.
So inveterate is our habit of criticism, that much of our knowledge in this direction belongs to the chapter of pathology. The crowd in the street oftener furnishes degradations than angels or redeemers: but they all prove the transparency. Every spirit makes its house; and we can give a shrewd guess from the house to the inhabitant. But not less does Nature furnish us with every sign of grace and goodness. The delicious faces of children, the beauty of school-girls, "the sweet seriousness of sixteen," the lofty air of well-born, well-bred boys, the passionate histories in the looks and manners of youth and early manhood, and the varied power in all that well-known company that escort us through life,—we know how these forms thrill, paralyze, provoke, inspire, and enlarge us.
Beauty is the form under which the intellect prefers to study the world. All privilege is that of beauty; for there are many beauties; as, of general nature, of the human face and form, of manners, of brain, or method, moral beauty, or beauty of the soul.
The ancients believed that a genius or demon took possession at birth of each mortal, to guide him; that these genii were sometimes seen as a flame of fire partly immersed in the bodies which they governed;—on an evil man, resting on his head; in a good man, mixed with his substance. They thought the same genius, at the death of its ward, entered a new-born child, and they pretended to guess the pilot, by the sailing of the ship. We recognize obscurely the same fact, though we give it our own names. We say, that every man is entitled to be valued by his best moment. We measure our friends so. We know, they have intervals of folly, whereof we take no heed, but wait the reappearings of the genius, which are sure and beautiful. On the other side, everybody knows people who appear beridden, and who, with all degrees of ability, never impress us with the air of free agency. They know it too, and peep with their eyes to see if you detect their sad plight. We fancy, could we pronounce the solving word, and disenchant them, the cloud would roll up, the little rider would be discovered and unseated, and they would regain their freedom. The remedy seems never to be far off, since the first step into thought lifts this mountain of necessity. Thought is the pent air-ball which can rive the planet, and the beauty which certain objects have for him, is the friendly fire which expands the thought, and acquaints the prisoner that liberty and power await him.
The question of Beauty takes us out of surfaces, to thinking of the foundations of things. Goethe said, "The beautiful is a manifestation of secret laws of Nature, which, but for this appearance, had been forever concealed from us." And the working of this deep instinct makes all the excitement—much of it superficial and absurd enough—about works of art, which leads armies of vain travellers every year to Italy, Greece, and Egypt. Every man values every acquisition he makes in the science of beauty, above his possessions. The most useful man in the most useful world, so long as only commodity was served, would remain unsatisfied. But, as fast as he sees beauty, life acquires a very high value.
I am warned by the ill fate of many philosophers not to attempt a definition of Beauty. I will rather enumerate a few of its qualities. We ascribe beauty to that which is simple; which has no superfluous parts; which exactly answers its end; which stands related to all things; which is the mean of many extremes. It is the most enduring quality, and the most ascending quality. We say, love is blind, and the figure of Cupid is drawn with a bandage round his eyes. Blind:—yes, because he does not see what he does not like; but the sharpest-sighted hunter in the universe is Love, for finding what he seeks, and only that; and the mythologists tell us, that Vulcan was painted lame, and Cupid blind, to call attention to the fact, that one was all limbs, and the other, all eyes. In the true mythology, Love is an immortal child, and Beauty leads him as a guide: nor can we express a deeper sense than when we say, Beauty is the pilot of the young soul.
Beyond their sensuous delight, the forms and colors of Nature have a new charm for us in our perception, that not one ornament was added for ornament, but is a sign of some better health, or more excellent action. Elegance of form in bird or beast, or in the human figure, marks some excellence of structure: or beauty is only an invitation from what belongs to us. 'Tis a law of botany, that in plants, the same virtues follow the same forms. It is a rule of largest application, true in a plant, true in a loaf of bread, that in the construction of any fabric or organism, any real increase of fitness to its end, is an increase of beauty.
The lesson taught by the study of Greek and of Gothic art, of antique and of Pre-Raphaelite painting, was worth all the research,—namely, that all beauty must be organic; that outside embellishment is deformity. It is the soundness of the bones that ultimates itself in a peach-bloom complexion: health of constitution that makes the sparkle and the power of the eye. 'Tis the adjustment of the size and of the joining of the sockets of the skeleton, that gives grace of outline and the finer grace of movement. The cat and the deer cannot move or sit inelegantly. The dancing-master can never teach a badly built man to walk well. The tint of the flower proceeds from its root, and the lustres of the sea-shell begin with its existence. Hence our taste in building rejects paint, and all shifts, and shows the original grain of the wood: refuses pilasters and columns that support nothing, and allows the real supporters of the house honestly to show themselves. Every necessary or organic action pleases the beholder. A man leading a horse to water, a farmer sowing seed, the labors of haymakers in the field, the carpenter building a ship, the smith at his forge, or, whatever useful labor, is becoming to the wise eye. But if it is done to be seen, it is mean. How beautiful are ships on the sea! but ships in the theatre,—or ships kept for picturesque effect on Virginia Water, by George IV., and men hired to stand in fitting costumes at a penny an hour!—What a difference in effect between a battalion of troops marching to action, and one of our independent companies on a holiday! In the midst of a military show, and a festal procession gay with banners, I saw a boy seize an old tin pan that lay rusting under a wall, and poising it on the top of a stick, he set it turning, and made it describe the most elegant imaginable curves, and drew away attention from the decorated procession by this startling beauty.
Another text from the mythologists. The Greeks fabled that Venus was born of the foam of the sea. Nothing interests us which is stark or bounded, but only what streams with life, what is in act or endeavor to reach somewhat beyond. The pleasure a palace or a temple gives the eye, is, that an order and method has been communicated to stones, so that they speak and geometrize, become tender or sublime with expression. Beauty is the moment of transition, as if the form were just ready to flow into other forms. Any fixedness, heaping, or concentration on one feature,—a long nose, a sharp chin, a hump-back,—is the reverse of the flowing, and therefore deformed. Beautiful as is the symmetry of any form, if the form can move, we seek a more excellent symmetry. The interruption of equilibrium stimulates the eye to desire the restoration of symmetry, and to watch the steps through which it is attained. This is the charm of running water, sea-waves, the flight of birds, and the locomotion of animals. This is the theory of dancing, to recover continually in changes the lost equilibrium, not by abrupt and angular, but by gradual and curving movements. I have been told by persons of experience in matters of taste, that the fashions follow a law of gradation, and are never arbitrary. The new mode is always only a step onward in the same direction as the last mode; and a cultivated eye is prepared for and predicts the new fashion. This fact suggests the reason of all mistakes and offence in our own modes. It is necessary in music, when you strike a discord, to let down the ear by an intermediate note or two to the accord again: and many a good experiment, born of good sense, and destined to succeed, fails, only because it is offensively sudden. I suppose, the Parisian milliner who dresses the world from her imperious boudoir will know how to reconcile the Bloomer costume to the eye of mankind, and make it triumphant over Punch himself, by interposing the just gradations. I need not say, how wide the same law ranges; and how much it can be hoped to effect. All that is a little harshly claimed by progressive parties, may easily come to be conceded without question, if this rule be observed. Thus the circumstances may be easily imagined, in which woman may speak, vote, argue causes, legislate, and drive a coach, and all the most naturally in the world, if only it come by degrees. To this streaming or flowing belongs the beauty that all circular movement has; as, the circulation of waters, the circulation of the blood, the periodical motion of planets, the annual wave of vegetation, the action and reaction of Nature: and, if we follow it out, this demand in our thought for an ever-onward action, is the argument for the immortality.
One more text from the mythologists is to the same purpose,—Beauty rides on a lion. Beauty rests on necessities. The line of beauty is the result of perfect economy. The cell of the bee is built at that angle which gives the most strength with the least wax; the bone or the quill of the bird gives the most alar strength, with the least weight. "It is the purgation of superfluities," said Michel Angelo. There is not a particle to spare in natural structures. There is a compelling reason in the uses of the plant, for every novelty of color or form: and our art saves material, by more skilful arrangement, and reaches beauty by taking every superfluous ounce that can be spared from a wall, and keeping all its strength in the poetry of columns. In rhetoric, this art of omission is a chief secret of power, and, in general, it is proof of high culture, to say the greatest matters in the simplest way.
Veracity first of all, and forever.Rien de beau que le vrai. In all design, art lies in making your object prominent, but there is a prior art in choosing objects that are prominent. The fine arts have nothing casual, but spring from the instincts of the nations that created them.
Beauty is the quality which makes to endure. In a house that I know, I have noticed a block of spermaceti lying about closets and mantel-pieces, for twenty years together, simply because the tallow-man gave it the form of a rabbit; and, I suppose, it may continue to be lugged about unchanged for a century. Let an artist scrawl a few lines or figures on the back of a letter, and that scrap of paper is rescued from danger, is put in portfolio, is framed and glazed, and, in proportion to the beauty of the lines drawn, will be kept for centuries. Burns writes a copy of verses, and sends them to a newspaper, and the human race take charge of them that they shall not perish.
As the flute is heard farther than the cart, see how surely a beautiful form strikes the fancy of men, and is copied and reproduced without end. How many copies are there of the Belvedere Apollo, the Venus, the Psyche, the Warwick Vase, the Parthenon, and the Temple of Vesta? These are objects of tenderness to all. In our cities, an ugly building is soon removed, and is never repeated, but any beautiful building is copied and improved upon, so that all masons and carpenters work to repeat and preserve the agreeable forms, whilst the ugly ones die out.
The felicities of design in art, or in works of Nature, are shadows or forerunners of that beauty which reaches its perfection in the human form. All men are its lovers. Wherever it goes, it creates joy and hilarity, and everything is permitted to it. It reaches its height in woman. "To Eve," say the Mahometans, "God gave two thirds of all beauty." A beautiful woman is a practical poet, taming her savage mate, planting tenderness, hope, and eloquence, in all whom she approaches. Some favors of condition must go with it, since a certain serenity is essential, but we love its reproofs and superiorities. Nature wishes that woman should attract man, yet she often cunningly moulds into her face a little sarcasm, which seems to say, 'Yes, I am willing to attract, but to attract a little better kind of a man than any I yet behold.' Frenchmémoiresof the fifteenth century celebrate the name of Pauline de Viguiere, a virtuous and accomplished maiden, who so fired the enthusiasm of her contemporaries, by her enchanting form, that the citizens of her native city of Toulouse obtained the aid of the civil authorities to compel her to appear publicly on the balcony at least twice a week, and, as often as she showed herself, the crowd was dangerous to life. Not less, in England, in the last century, was the fame of the Gunnings, of whom, Elizabeth married the Duke of Hamilton; and Maria, the Earl of Coventry. Walpole says, "the concourse was so great, when the Duchess of Hamilton was presented at court, on Friday, that even the noble crowd in the drawing-room clambered on chairs and tables to look at her. There are mobs at their doors to see them get into their chairs, and people go early to get places at the theatres, when it is known they will be there." "Such crowds," he adds, elsewhere, "flock to see the Duchess of Hamilton, that seven hundred people sat up all night, in and about an inn, in Yorkshire, to see her get into her post-chaise next morning."
But why need we console ourselves with the fames of Helen of Argos, or Corinna, or Pauline of Toulouse, or the Duchess of Hamilton? We all know this magic very well, or can divine it. It does not hurt weak eyes to look into beautiful eyes never so long. Women stand related to beautiful Nature around us, and the enamored youth mixes their form with moon and stars, with woods and waters, and the pomp of summer. They heal us of awkwardness by their words and looks. We observe their intellectual influence on the most serious student. They refine and clear his mind; teach him to put a pleasing method into what is dry and difficult. We talk to them, and wish to be listened to; we fear to fatigue them, and acquire a facility of expression which passes from conversation into habit of style.
That Beauty is the normal state, is shown by the perpetual effort of Nature to attain it. Mirabeau had an ugly face on a handsome ground; and we see faces every day which have a good type, but have been marred in the casting: a proof that we are all entitled to beauty, should have been beautiful, if our ancestors had kept the laws,—as every lily and every rose is well. But our bodies do not fit us, but caricature and satirize us. Thus, short legs, which constrain us to short, mincing steps, are a kind of personal insult and contumely to the owner; and long stilts, again, put him at perpetual disadvantage, and force him to stoop to the general level of mankind. Martial ridicules a gentleman of his day whose countenance resembled the face of a swimmer seen under water. Saadi describes a schoolmaster "so ugly and crabbed, that a sight of him would derange the ecstasies of the orthodox." Faces are rarely true to any ideal type, but are a record in sculpture of a thousand anecdotes of whim and folly. Portrait painters say that most faces and forms are irregular and unsymmetrical; have one eye blue, and one gray; the nose not straight; and one shoulder higher than another; the hair unequally distributed, etc. The man is physically as well as metaphysically a thing of shreds and patches, borrowed unequally from good and bad ancestors, and a misfit from the start.
A beautiful person, among the Greeks, was thought to betray by this sign some secret favor of the immortal gods: and we can pardon pride, when a woman possesses such a figure, that wherever she stands, or moves, or leaves a shadow on the wall, or sits for a portrait to the artist, she confers a favor on the world. And yet—it is not beauty that inspires the deepest passion. Beauty without grace is the hook without the bait. Beauty, without expression, tires. Abbé Ménage said of the President Le Bailleul, "that he was fit for nothing but to sit for his portrait." A Greek epigram intimates that the force of love is not shown by the courting of beauty, but when the like desire is inflamed for one who is ill-favored. And petulant old gentlemen, who have chanced to suffer some intolerable weariness from pretty people, or who have seen cut flowers to some profusion, or who see, after a world of pains have been successfully taken for the costume, how the least mistake in sentiment takes all the beauty out of your clothes,—affirm, that the secret of ugliness consists not in irregularity, but in being uninteresting.
We love any forms, however ugly, from which great qualities shine. If command, eloquence, art, or invention, exist in the most deformed person, all the accidents that usually displease, please, and raise esteem and wonder higher. The great orator was an emaciated, insignificant person, but he was all brain. Cardinal De Retz says of De Bouillon, "With the physiognomy of an ox, he had the perspicacity of an eagle." It was said of Hooke, the friend of Newton, "he is the most, and promises the least, of any man in England." "Since I am so ugly," said Du Guesclin, "it behooves that I be bold." Sir Philip Sidney, the darling of mankind, Ben Jonson tells us, "was no pleasant man in countenance, his face being spoiled with pimples, and of high blood, and long." Those who have ruled human destinies, like planets, for thousands of years, were not handsome men. If a man can raise a small city to be a great kingdom, can make bread cheap, can irrigate deserts, can join oceans by canals, can subdue steam, can organize victory, can lead the opinions of mankind, can enlarge knowledge, 'tis no matter whether his nose is parallel to his spine, as it ought to be, or whether he has a nose at all: whether his legs are straight, or whether his legs are amputated; his deformities will come to be reckoned ornamental, and advantageous on the whole. This is the triumph of expression, degrading beauty, charming us with a power so fine and friendly and intoxicating, that it makes admired persons insipid, and the thought of passing our lives with them insupportable. There are faces so fluid with expression, so flushed and rippled by the play of thought, that we can hardly find what the mere features really are. When the delicious beauty of lineaments loses its power, it is because a more delicious beauty has appeared; that an interior and durable form has been disclosed. Still, Beauty rides on her lion, as before. Still, "it was for beauty that the world was made." The lives of the Italian artists, who established a despotism of genius amidst the dukes and kings and mobs of their stormy epoch, prove how loyal men in all times are to a finer brain, a finer method, than their own. If a man can cut such a head on his stone gate-post as shall draw and keep a crowd about it all day, by its beauty, good nature, and inscrutable meaning:—if a man can build a plain cottage with such symmetry, as to make all the fine palaces look cheap and vulgar; can take such advantage of Nature, that all her powers serve him; making use of geometry, instead of expense; tapping a mountain for his water-jet; causing the sun and moon to seem only the decorations of his estate; this is still the legitimate dominion of beauty.
The radiance of the human form, though sometimes astonishing, is only a burst of beauty for a few years or a few months, at the perfection of youth, and in most, rapidly declines. But we remain lovers of it, only transferring our interest to interior excellence. And it is not only admirable in singular and salient talents, but also in the world of manners.
But the sovereign attribute remains to be noted. Things are pretty, graceful, rich, elegant, handsome, but, until they speak to the imagination, not yet beautiful. This is the reason why beauty is still escaping out of all analysis. It is not yet possessed, it cannot be handled. Proclus says, "it swims on the light of forms." It is properly not in the form, but in the mind. It instantly deserts possession, and flies to an object in the horizon. If I could put my hand on the north star, would it be as beautiful? The sea is lovely, but when we bathe in it, the beauty forsakes all the near water. For the imagination and senses cannot be gratified at the same time. Wordsworth rightly speaks of "a light that never was on sea or land," meaning, that it was supplied by the observer, and the Welsh bard warns his countrywomen, that
—"half of their charms with Cadwallon shall die."
—"half of their charms with Cadwallon shall die."
—"half of their charms with Cadwallon shall die."
The new virtue which constitutes a thing beautiful, is a certain cosmical quality, or, a power to suggest relation to the whole world, and so lift the object out of a pitiful individuality. Every natural feature,—sea, sky, rainbow, flowers, musical tone,—has in it somewhat which is not private, but universal, speaks of that central benefit which is the soul of Nature, and thereby is beautiful. And, in chosen men and women, I find somewhat in form, speech, and manners, which is not of their person and family, but of a humane, catholic, and spiritual character, and we love them as the sky. They have a largeness of suggestion, and their face and manners carry a certain grandeur, like time and justice.
The feat of the imagination is in showing the convertibility of every thing into every other thing. Facts which had never before left their stark common sense, suddenly figure as Eleusinian mysteries. My boots and chair and candlestick are fairies in disguise, meteors and constellations. All the facts in Nature are nouns of the intellect, and make the grammar of the eternal language. Every word has a double, treble, or centuple use and meaning, What! has my stove and pepper-pot a false bottom! I cry you mercy, good shoe-box! I did not know you were a jewel-case. Chaff and dust begin to sparkle, and are clothed about with immortality. And there is a joy in perceiving the representative or symbolic character of a fact, which no bare fact or event can ever give. There are no days in life so memorable as those which vibrated to some stroke of the imagination.
The poets are quite right in decking their mistresses with the spoils of the landscape, flower-gardens, gems, rainbows, flushes of morning, and stars of night, since all beauty points at identity, and whatsoever thing does not express to me the sea and sky, day and night, is somewhat forbidden and wrong. Into every beautiful object, there enters somewhat immeasurable and divine, and just as much into form bounded by outlines, like mountains on the horizon, as into tones of music, or depths of space. Polarized light showed the secret architecture of bodies; and when thesecond-sightof the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.
The laws of this translation we do not know, or why one feature or gesture enchants, why one word or syllable intoxicates, but the fact is familiar that the fine touch of the eye, or a grace of manners, or a phrase of poetry, plants wings at our shoulders; as if the Divinity, in his approaches, lifts away mountains of obstruction, and deigns to draw a truer line, which the mind knows and owns. This is that haughty force of beauty, "vis superba formæ" which the poets praise,—under calm and precise outline, the immeasurable and divine: Beauty hiding all wisdom and power in its calm sky.
All high beauty has a moral element in it, and I find the antique sculpture as ethical as Marcus Antoninus: and the beauty ever in proportion to the depth of thought. Gross and obscure natures, however decorated, seem impure shambles; but character gives splendor to youth, and awe to wrinkled skin and gray hairs. An adorer of truth we cannot choose but obey, and the woman who has shared with us the moral sentiment,—her locks must appear to us sublime. Thus there is a climbing scale of culture, from the first agreeable sensation which a sparkling gem or a scarlet stain affords the eye, up through fair outlines and details of the landscape, features of the human face and form, signs and tokens of thought and character in manners, up to the ineffable mysteries of the intellect. Wherever we begin, thither our steps tend: an ascent from the joy of a horse in his trappings, up to the perception of Newton, that the globe on which we ride is only a larger apple falling from a larger tree; up to the perception of Plato, that globe and universe are rude and early expressions of an all-dissolving Unity,—the first stair on the scale to the temple of the Mind.
IX.
ILLUSIONS
Flow, flow the waves hated,Accursed, adored,The waves of mutation:No anchorage is.Sleep is not, death is not;Who seem to die live.House you were born in,Friends of your spring-time,Old man and young maid,Day's toil and its guerdon,They are all vanishing,Fleeing to fables,Cannot be moored.See the stars through them,Through treacherous marbles.Know, the stars yonder,The stars everlasting,Are fugitive also,And emulate, vaulted,The lambent heat-lightning,And fire-fly's flight.When thou dost returnOn the wave's circulation,Beholding the shimmer,The wild dissipation,And, out of endeavorTo change and to flow,The gas become solid,And phantoms and nothingsReturn to be things,And endless imbroglioIs law and the world,—Then first shalt thou know,That in the wild turmoil,Horsed on the Proteus,Thou ridest to power,And to endurance.
Flow, flow the waves hated,Accursed, adored,The waves of mutation:No anchorage is.Sleep is not, death is not;Who seem to die live.House you were born in,Friends of your spring-time,Old man and young maid,Day's toil and its guerdon,They are all vanishing,Fleeing to fables,Cannot be moored.See the stars through them,Through treacherous marbles.Know, the stars yonder,The stars everlasting,Are fugitive also,And emulate, vaulted,The lambent heat-lightning,And fire-fly's flight.When thou dost returnOn the wave's circulation,Beholding the shimmer,The wild dissipation,And, out of endeavorTo change and to flow,The gas become solid,And phantoms and nothingsReturn to be things,And endless imbroglioIs law and the world,—Then first shalt thou know,That in the wild turmoil,Horsed on the Proteus,Thou ridest to power,And to endurance.
Flow, flow the waves hated,
Accursed, adored,
The waves of mutation:
No anchorage is.
Sleep is not, death is not;
Who seem to die live.
House you were born in,
Friends of your spring-time,
Old man and young maid,
Day's toil and its guerdon,
They are all vanishing,
Fleeing to fables,
Cannot be moored.
See the stars through them,
Through treacherous marbles.
Know, the stars yonder,
The stars everlasting,
Are fugitive also,
And emulate, vaulted,
The lambent heat-lightning,
And fire-fly's flight.
When thou dost return
When thou dost return
On the wave's circulation,
Beholding the shimmer,
The wild dissipation,
And, out of endeavor
To change and to flow,
The gas become solid,
And phantoms and nothings
Return to be things,
And endless imbroglio
Is law and the world,—
Then first shalt thou know,
That in the wild turmoil,
Horsed on the Proteus,
Thou ridest to power,
And to endurance.
ILLUSIONS.
Some years ago, in company with an agreeable party, I spent a long summer day in exploring the Mammoth Cave in Kentucky. We traversed, through spacious galleries affording a solid masonry foundation for the town and county overhead, the six or eight black miles from the mouth of the cavern to the innermost recess which tourists visit,—a niche or grotto made of one seamless stalactite, and called, I believe, Serena's Bower. I lost the light of one day. I saw high domes, and bottomless pits; heard the voice of unseen waterfalls; paddled three quarters of a mile in the deep Echo River, whose waters are peopled with the blind fish; crossed the streams "Lethe" and "Styx;" plied with music and guns the echoes in these alarming galleries; saw every form of stalagmite and stalactite in the sculptured and fretted chambers,—icicle, orange-flower, acanthus, grapes, and snowball. We shot Bengal lights into the vaults and groins of the sparry cathedrals, and examined all the masterpieces which the four combined engineers, water, limestone, gravitation, and time, could make in the dark.
The mysteries and scenery of the cave had the same dignity that belongs to all natural objects, and which shames the fine things to which we foppishly compare them. I remarked, especially, the mimetic habit, with which Nature, on new instruments, hums her old tunes, making night to mimic day, and chemistry to ape vegetation. But I then took notice, and still chiefly remember, that the best thing which the cave had to offer was an illusion. On arriving at what is called the "Star-Chamber," our lamps were taken from us by the guide, and extinguished or put aside, and, on looking upwards, I saw or seemed to see the night heaven thick with stars glimmering more or less brightly over our heads, and even what seemed a comet flaming among them. All the party were touched with astonishment and pleasure. Our musical friends sung with much feeling a pretty song, "The stars are in the quiet sky," &c., and I sat down on the rocky floor to enjoy the serene picture. Some crystal specks in the black ceiling high overhead, reflecting the light of a half-hid lamp, yielded this magnificent effect.
I own, I did not like the cave so well for eking out its sublimities with this theatrical trick. But I have had many experiences like it, before and since; and we must be content to be pleased without too curiously analyzing the occasions. Our conversation with Nature is not just what it seems. The cloud-rack, the sunrise and sunset glories, rainbows, and northern lights are not quite so spheral as our childhood thought them; and the part our organization plays in them is too large. The senses interfere everywhere, and mix their own structure with all they report of. Once, we fancied the earth a plane, and stationary. In admiring the sunset, we do not yet deduct the rounding, coordinating, pictorial powers of the eye.
The same interference from our organization creates the most of our pleasure and pain. Our first mistake is the belief that the circumstance gives the joy which we give to the circumstance. Life is an ecstasy. Life is sweet as nitrous oxide; and the fisherman dripping all day over a cold pond, the switchman at the railway intersection, the farmer in the field, the negro in the rice-swamp, the fop in the street, the hunter in the woods, the barrister with the jury, the belle at the ball, all ascribe a certain pleasure to their employment, which they themselves give it. Health and appetite impart the sweetness to sugar, bread, and meat. We fancy that our civilization has got on far, but we still come back to our primers.
We live by our imaginations, by our admirations, by our sentiments. The child walks amid heaps of illusions, which he does not like to have disturbed. The boy, how sweet to him is his fancy! how dear the story of barons and battles! What a hero he is, whilst he feeds on his heroes! What a debt is his to imaginative books! He has no better friend or influence, than Scott, Shakspeare, Plutarch, and Homer. The man lives to other objects, but who dare affirm that they are more real? Even the prose of the streets is full of refractions. In the life of the dreariest alderman, fancy enters into all details, and colors them with rosy hue. He imitates the air and actions of people whom he admires, and is raised in his own eyes. He pays a debt quicker to a rich man than to a poor man. He wishes the bow and compliment of some leader in the state, or in society; weighs what he says; perhaps he never comes nearer to him for that, but dies at last better contented for this amusement of his eyes and his fancy.
The world rolls, the din of life is never hushed. In London, in Paris, in Boston, in San Francisco, the carnival, the masquerade is at its height. Nobody drops his domino. The unities, the fictions of the piece it would be an impertinence to break. The chapter of fascinations is very long. Great is paint; nay, God is the painter; and we rightly accuse the critic who destroys too many illusions. Society does not love its unmaskers. It was wittily, if somewhat bitterly, said by D'Alembert, "qu'un état de vapeur était un état trés fâchieux, parcequ'il nous faisait voir les choses comme elles sont." I find men victims of illusion in all parts of life. Children, youths, adults, and old men, all are led by one bawble or another. Yoganidra, the goddess of illusion, Proteus, or Momus, or Gylfi's Mocking,—for the Power has many names,—is stronger than the Titans, stronger than Apollo. Few have overheard the gods, or surprised their secret. Life is a succession of lessons which must be lived to be understood. All is riddle, and the key to a riddle is another riddle. There are as many pillows of illusion as flakes in a snow-storm. We wake from one dream into another dream. The toys, to be sure, are various, and are graduated in refinement to the quality of the dupe. The intellectual man requires a fine bait; the sots are easily amused. But everybody is drugged with his own frenzy, and the pageant marches at all hours, with music and banner and badge.
Amid the joyous troop who give in to the charivari, comes now and then a sad-eyed boy, whose eyes lack the requisite refractions to clothe the show in due glory, and who is afflicted with a tendency to trace home the glittering miscellany of fruits and flowers to one root. Science is a search after identity, and the scientific whim is lurking in all corners. At the State Fair, a friend of mine complained that all the varieties of fancy pears in our orchards seem to have been selected by somebody who had a whim for a particular kind of pear, and only cultivated such as had that perfume; they were all alike. And I remember the quarrel of another youth with the confectioners, that, when he racked his wit to choose the best comfits in the shops, in all the endless varieties of sweetmeat he could only find three flavors, or two. What then? Pears and cakes are good for something; and because you, unluckily, have an eye or nose too keen, why need you spoil the comfort which the rest of us find in them? I knew a humorist, who, in a good deal of rattle, had a grain or two of sense. He shocked the company by maintaining that the attributes of God were two,—power and risibility; and that it was the duty of every pious man to keep up the comedy. And I have known gentlemen of great stake in the community, but whose sympathies were cold,—presidents of colleges, and governors, and senators,—who held themselves bound to sign every temperance pledge, and act with Bible societies, and missions, and peace-makers, and cryHist-a-boy!to every good dog. We must not carry comity too far, but we all have kind impulses in this direction. When the boys come into my yard for leave to gather horse-chestnuts, I own I enter into Nature's game, and affect to grant the permission reluctantly, fearing that any moment they will find out the imposture of that showy chaff. But this tenderness is quite unnecessary; the enchantments are laid on very thick. Their young life is thatched with them. Bare and grim to tears is the lot of the children in the hovel I saw yesterday; yet not the less they hung it round with frippery romance, like the children of the happiest fortune, and talked of "the dear cottage where so many joyful hours had flown." Well, this thatching of hovels is the custom of the country. Women, more than all, are the element and kingdom of illusion. Being fascinated, they fascinate. They see through Claude-Lorraines. And how dare any one, if he could, pluck away thecoulisses, stage effects, and ceremonies, by which they live? Too pathetic, too pitiable, is the region of affection, and its atmosphere always liable tomirage.
We are not very much to blame for our bad marriages. We live amid hallucinations; and this especial trap is laid to trip up our feet with, and all are tripped up first or last. But the mighty Mother who had been so sly with us, as if she felt that she owed us some indemnity, insinuates into the Pandora-box of marriage some deep and serious benefits, and some great joys. We find a delight in the beauty and happiness of children, that makes the heart too big for the body. In the worst-assorted connections there is ever some mixture of true marriage. Teague and his jade get some just relations of mutual respect, kindly observation, and fostering of each other, learn something, and would carry themselves wiselier, if they were now to begin.
'Tis fine for us to point at one or another fine madman, as if there were any exempts. The scholar in his library is none. I, who have all my life heard any number of orations and debates, read poems and miscellaneous books, conversed with many geniuses, am still the victim of any new page; and, if Marmaduke, or Hugh, or Moosehead, or any other, invent a new style or mythology, I fancy that the world will be all brave and right, if dressed in these colors, which I had not thought of. Then at once I will daub with this new paint; but it will not stick. 'Tis like the cement which the peddler sells at the door; he makes broken crockery hold with it, but you can never buy of him a bit of the cement which will make it hold when he is gone.
Men who make themselves felt in the world avail themselves of a certain fate in their constitution, which they know how to use. But they never deeply interest us, unless they lift a corner of the curtain, or betray never so slightly their penetration of what is behind it. 'Tis the charm of practical men, that outside of their practicality are a certain poetry and play, as if they led the good horse Power by the bridle, and preferred to walk, though they can ride so fiercely. Bonaparte is intellectual, as well as Cæsar; and the best soldiers, sea-captains, and railway men have a gentleness, when off duty; a good-natured admission that there are illusions, and who shall say that he is not their sport? We stigmatize the cast-iron fellows, who cannot so detach themselves, as "dragon-ridden," "thunder-stricken," and fools of fate, with whatever powers endowed.
Since our tuition is through emblems and indirections, 'tis well to know that there is method in it, a fixed scale, and rank above rank in the phantasms. We begin low with coarse masks, and rise to the most subtle and beautiful. The red men told Columbus, "they had an herb which took away fatigue;" but he found the illusion of "arriving from the east at the Indies" more composing to his lofty spirit than any tobacco. Is not our faith in the impenetrability of matter more sedative than narcotics? You play with jackstraws, balls, bowls, horse and gun, estates and politics; but there are finer games before you. Is not time a pretty toy? Life will show you masks that are worth all your carnivals. Yonder mountain must migrate into your mind. The fine star-dust and nebulous blur in Orion, "the portentous year of Mizar and Alcor," must come down and be dealt with in your household thought. What if you shall come to discern that the play and playground of all this pompous history are radiations from yourself, and that the sun borrows his beams? What terrible questions we are learning to ask! The former men believed in magic, by which temples, cities, and men were swallowed up, and all trace of them gone. We are coming on the secret of a magic which sweeps out of men's minds all vestige of theism and beliefs which they and their fathers held and were framed upon.
There are deceptions of the senses, deceptions of the passions, and the structural, beneficent illusions of sentiment and of the intellect. There is the illusion of love, which attributes to the beloved person all which that person shares with his or her family, sex, age, or condition, nay, with the human mind itself. 'Tis these which the lover loves, and Anna Matilda gets the credit of them. As if one shut up always in a tower, with one window, through which the face of heaven and earth could be seen, should fancy that all the marvels he beheld belonged to that window. There is the illusion of time, which is very deep; who has disposed of it? or come to the conviction that what seems the succession of thought is only the distribution of wholes into causal series? The intellect sees that every atom carries the whole of Nature; that the mind opens to omnipotence; that, in the endless striving and ascents, the metamorphosis is entire, so that the soul doth not know itself in its own act, when that act is perfected. There is illusion that shall deceive even the elect. There is illusion that shall deceive even the performer of the miracle. Though he make his body, he denies that he makes it. Though the world exist from thought, thought is daunted in presence of the world. One after the other we accept the mental laws, still resisting those which follow, which however must be accepted. But all our concessions only compel us to new profusion. And what avails it that science has come to treat space and time as simply forms of thought, and the material world as hypothetical, and withal our pretension of property and even of self-hood are fading with the rest, if, at last, even our thoughts are not finalities; but the incessant flowing and ascension reach these also, and each thought which yesterday was a finality, to-day is yielding to a larger generalization?
With such volatile elements to work in, 'tis no wonder if our estimates are loose and floating. We must work and affirm, but we have no guess of the value of what we say or do. The cloud is now as big as your hand, and now it covers a county. That story of Thor, who was set to drain the drinking-horn in Asgard, and to wrestle with the old woman, and to run with the runner Lok, and presently found that he had been drinking up the sea, and wrestling with Time, and racing with Thought, describes us who are contending, amid these seeming trifles, with the supreme energies of Nature. We fancy we have fallen into bad company and squalid condition, low debts, shoe-bills, broken glass to pay for, pots to buy, butcher's meat, sugar, milk, and coal. 'Set me some great task, ye gods! and I will show my spirit.' 'Not so,' says the good Heaven; 'plod and plough, vamp your old coats and hats, weave a shoestring; great affairs and the best wine by and by.' Well, 'tis all phantasm; and if we weave a yard of tape in all humility, and as well as we can, long hereafter we shall see it was no cotton tape at all, but some galaxy which we braided, and that the threads were Time and Nature.
We cannot write the order of the variable winds. How can we penetrate the law of our shifting moods and susceptibility? Yet they differ as all and nothing. Instead of the firmament of yesterday, which our eyes require, it is to-day an eggshell which coops us in; we cannot even see what or where our stars of destiny are. From day to day, the capital facts of human life are hidden from our eyes. Suddenly the mist rolls up, and reveals them, and we think how much good time is gone, that might have been saved, had any hint of these things been shown. A sudden rise in the road shows us the system of mountains, and all the summits, which have been just as near us all the year, but quite out of mind. But these alternations are not without their order, and we are parties to our various fortune. If life seem a succession of dreams, yet poetic justice is done in dreams also. The visions of good men are good; it is the undisciplined will that is whipped with bad thoughts and bad fortunes. When we break the laws, we lose our hold on the central reality. Like sick men in hospitals, we change only from bed to bed, from one folly to another; and it cannot signify much what becomes of such castaways,—wailing, stupid, comatose creatures,—lifted from bed to bed, from the nothing of life to the nothing of death.
In this kingdom of illusions we grope eagerly for stays and foundations. There is none but a strict and faithful dealing at home, and a severe barring out of all duplicity or illusion there. Whatever games are played with us, we must play no games with ourselves, but deal in our privacy with the last honesty and truth. I look upon the simple and childish virtues of veracity and honesty as the root of all that is sublime in character. Speak as you think, be what you are, pay your debts of all kinds. I prefer to be owned as sound and solvent, and my word as good as my bond, and to be what cannot be skipped, or dissipated, or undermined, to all theéclatin the universe. This reality is the foundation of friendship, religion, poetry, and art. At the top or at the bottom of all illusions, I set the cheat which still leads us to work and live for appearances, in spite of our conviction, in all sane hours, that it is what we really are that avails with friends, with strangers, and with fate or fortune.
One would think from the talk of men, that riches and poverty were a great matter; and our civilization mainly respects it. But the Indians say, that they do not think the white man with his brow of care, always toiling, afraid of heat and cold, and keeping within doors, has any advantage of them. The permanent interest of every man is, never to be in a false position, but to have the weight of Nature to back him in all that he does. Riches and poverty are a thick or thin costume; and our life—the life of all of us—identical. For we transcend the circumstance continually, and taste the real quality of existence; as in our employments, which only differ in the manipulations, but express the same laws; or in our thoughts, which wear no silks, and taste no ice-creams. We see God face to face every hour, and know the savor of Nature.
The early Greek philosophers Heraclitus and Xenophanes measured their force on this problem of identity. Diogenes of Apollonia said, that unless the atoms were made of one stuff, they could never blend and act with one another. But the Hindoos, in their sacred writings, express the liveliest feeling, both of the essential identity, and of that illusion which they conceive variety to be "The notions, 'I am,' and 'This is mine,' which influence mankind, are but delusions of the mother of the world. Dispel, O Lord of all creatures! the conceit of knowledge which proceeds from ignorance." And the beatitude of man they hold to lie in being freed from fascination.
The intellect is stimulated by the statement of truth in a trope, and the will by clothing the laws of life in illusions. But the unities of Truth and of Right are not broken by the disguise. There need never be any confusion in these. In a crowded life of many parts and performers, on a stage of nations, or in the obscurest hamlet in Maine or California, the same elements offer the same choices to each new comer, and, according to his election, he fixes his fortune in absolute Nature. It would be hard to put more mental and moral philosophy than the Persians have thrown into a sentence:—
"Fooled thou must be, though wisest of the wise:Then be the fool of virtue, not of vice."
"Fooled thou must be, though wisest of the wise:Then be the fool of virtue, not of vice."
"Fooled thou must be, though wisest of the wise:
Then be the fool of virtue, not of vice."
There is no chance, and no anarchy, in the universe. All is system and gradation. Every god is there sitting in his sphere. The young mortal enters the hall of the firmament: there is he alone with them alone, they pouring on him benedictions and gifts, and beckoning him up to their thrones. On the instant, and incessantly, fall snow-storms of illusions. He fancies himself in a vast crowd which sways this way and that, and whose movement and doings he must obey: he fancies himself poor, orphaned, insignificant. The mad crowd drives hither and thither, now furiously commanding this thing to be done, now that. What is he that he should resist their will, and think or act for himself? Every moment, new changes, and new showers of deceptions, to baffle and distract him. And when, by and by, for an instant, the air clears, and the cloud lifts a little, there are the gods still sitting around him on their thrones,—they alone with him alone.