Essays-First Series Part 11

If we consider what persons have stimulated and profited us, we shall perceive the superiority of the spontaneous or intuitive principle over the arithmetical or logical. The first contains the second, but virtual and latent. We want in every man a long logic; we cannot pardon the absence of it, but it must not be spoken. Logic is the procession or proportionate unfolding of the intuition; but its virtue is as silent method; the moment it would appear as propositions and have a separate value it is worthless.

In every man's mind, some images, words and facts remain, without effort on his part to imprint them, which others forget, and afterwards these ill.u.s.trate to him important laws. All our progress is an unfolding, like the vegetable bud. You have first an instinct, then an opinion, then a knowledge, as the plant has root, bud and fruit. Trust the instinct to the end, though you can render no reason. It is vain to hurry it. By trusting it to the end, it shall ripen into truth and you shall know why you believe.

Each mind has its own method. A true man never acquires after college rules. What you have aggregated in a natural manner surprises and delights when it is produced. For we cannot oversee each other's secret. And hence the differences between men in natural endowment are insignificant in comparison with their common wealth. Do you think the porter and the cook have no anecdotes, no experiences, no wonders for you? Every body knows as much as the savant. The walls of rude minds are scrawled all over with facts, with thoughts. They shall one day bring a lantern and read the inscriptions. Every man, in the degree in which he has wit and culture, finds his curiosity inflamed concerning the modes of living and thinking of other men, and especially of those cla.s.ses whose minds have not been subdued by the drill of school education.

This instinctive action never ceases in a healthy mind, but becomes richer and more frequent in its informations through all states of culture. At last comes the era of reflection, when we not only observe, but take pains to observe; when we of set purpose sit down to consider an abstract truth; when we keep the mind's eye open whilst we converse, whilst we read, whilst we act, intent to learn the secret law of some cla.s.s of facts.

What is the hardest task in the world? To think. I would put myself in the att.i.tude to look in the eye an abstract truth, and I cannot. I blench and withdraw on this side and on that. I seem to know what he meant who said, No man can see G.o.d face to face and live. For example, a man explores the basis of civil government. Let him intend his mind without respite, without rest, in one direction. His best heed long time avails him nothing. Yet thoughts are flitting before him. We all but apprehend, we dimly forebode the truth. We say I will walk abroad, and the truth will take form and clearness to me. We go forth, but cannot find it. It seems as if we needed only the stillness and composed att.i.tude of the library to seize the thought. But we come in, and are as far from it as at first. Then, in a moment, and unannounced, the truth appears. A certain wandering light appears, and is the distinction, the principle, we wanted. But the oracle comes because we had previously laid siege to the shrine. It seems as if the law of the intellect resembled that law of nature by which we now inspire, now expire the breath; by which the heart now draws in, then hurls out the blood,--the law of undulation. So now you must labor with your brains, and now you must forbear your activity and see what the great Soul showeth.

The immortality of man is as legitimately preached from the intellections as from the moral volitions. Every intellection is mainly prospective. Its present value is its least. Inspect what delights you in Plutarch, in Shakspeare, in Cervantes. Each truth that a writer acquires is a lantern, which he turns full on what facts and thoughts lay already in his mind, and behold, all the mats and rubbish which had littered his garret become precious. Every trivial fact in his private biography becomes an ill.u.s.tration of this new principle, revisits the day, and delights all men by its piquancy and new charm. Men say, Where did he get this? and think there was something divine in his life. But no; they have myriads of facts just as good, would they only get a lamp to ransack their attics withal.

We are all wise. The difference between persons is not in wisdom but in art. I knew, in an academical club, a person who always deferred to me; who, seeing my whim for writing, fancied that my experiences had somewhat superior; whilst I saw that his experiences were as good as mine. Give them to me and I would make the same use of them. He held the old; he holds the new; I had the habit of tacking together the old and the new which he did not use to exercise. This may hold in the great examples. Perhaps if we should meet Shakspeare we should not be conscious of any steep inferiority; no, but of a great equality,--only that he possessed a strange skill of using, of cla.s.sifying, his facts, which we lacked. For notwithstanding our utter incapacity to produce anything like Hamlet and Oth.e.l.lo, see the perfect reception this wit and immense knowledge of life and liquid eloquence find in us all.

If you gather apples in the suns.h.i.+ne, or make hay, or hoe corn, and then retire within doors and shut your eyes and press them with your hand, you shall still see apples hanging in the bright light with boughs and leaves thereto, or the ta.s.selled gra.s.s, or the corn-flags, and this for five or six hours afterwards. There lie the impressions on the retentive organ, though you knew it not. So lies the whole series of natural images with which your life has made you acquainted, in your memory, though you know it not; and a thrill of pa.s.sion flashes light on their dark chamber, and the active power seizes instantly the fit image, as the word of its momentary thought.

It is long ere we discover how rich we are. Our history, we are sure, is quite tame: we have nothing to write, nothing to infer. But our wiser years still run back to the despised recollections of childhood, and always we are fis.h.i.+ng up some wonderful article out of that pond; until by and by we begin to suspect that the biography of the one foolish person we know is, in reality, nothing less than the miniature paraphrase of the hundred volumes of the Universal History.

In the intellect constructive, which we popularly designate by the word Genius, we observe the same balance of two elements as in intellect receptive. The constructive intellect produces thoughts, sentences, poems, plans, designs, systems. It is the generation of the mind, the marriage of thought with nature. To genius must always go two gifts, the thought and the publication. The first is revelation, always a miracle, which no frequency of occurrence or incessant study can ever familiarize, but which must always leave the inquirer stupid with wonder. It is the advent of truth into the world, a form of thought now for the first time bursting into the universe, a child of the old eternal soul, a piece of genuine and immeasurable greatness. It seems, for the time, to inherit all that has yet existed and to dictate to the unborn. It affects every thought of man and goes to fas.h.i.+on every inst.i.tution. But to make it available it needs a vehicle or art by which it is conveyed to men. To be communicable it must become picture or sensible object. We must learn the language of facts. The most wonderful inspirations die with their subject if he has no hand to paint them to the senses. The ray of light pa.s.ses invisible through s.p.a.ce and only when it falls on an object is it seen. When the spiritual energy is directed on something outward, then it is a thought. The relation between it and you first makes you, the value of you, apparent to me.

The rich inventive genius of the painter must be smothered and lost for want of the power of drawing, and in our happy hours we should be inexhaustible poets if once we could break through the silence into adequate rhyme. As all men have some access to primary truth, so all have some art or power of communication in their head, but only in the artist does it descend into the hand. There is an inequality, whose laws we do not yet know, between two men and between two moments of the same man, in respect to this faculty. In common hours we have the same facts as in the uncommon or inspired, but they do not sit for their portraits; they are not detached, but lie in a web. The thought of genius is spontaneous; but the power of picture or expression, in the most enriched and flowing nature, implies a mixture of will, a certain control over the spontaneous states, without which no production is possible. It is a conversion of all nature into the rhetoric of thought, under the eye of judgment, with a strenuous exercise of choice. And yet the imaginative vocabulary seems to be spontaneous also. It does not flow from experience only or mainly, but from a richer source. Not by any conscious imitation of particular forms are the grand strokes of the painter executed, but by repairing to the fountain-head of all forms in his mind. Who is the first drawing-master? Without instruction we know very well the ideal of the human form. A child knows if an arm or a leg be distorted in a picture; if the att.i.tude be natural or grand or mean; though he has never received any instruction in drawing or heard any conversation on the subject, nor can himself draw with correctness a single feature. A good form strikes all eyes pleasantly, long before they have any science on the subject, and a beautiful face sets twenty hearts in palpitation, prior to all consideration of the mechanical proportions of the features and head. We may owe to dreams some light on the fountain of this skill; for as soon as we let our will go and let the unconscious states ensue, see what cunning draughtsmen we are! We entertain ourselves with wonderful forms of men, of women, of animals, of gardens, of woods and of monsters, and the mystic pencil wherewith we then draw has no awkwardness or inexperience, no meagreness or poverty; it can design well and group well; its composition is full of art, its colors are well laid on and the whole canvas which it paints is lifelike and apt to touch us with terror, with tenderness, with desire and with grief. Neither are the artist's copies from experience ever mere copies, but always touched and softened by tints from this ideal domain.

The conditions essential to a constructive mind do not appear to be so often combined but that a good sentence or verse remains fresh and memorable for a long time. Yet when we write with ease and come out into the free air of thought, we seem to be a.s.sured that nothing is easier than to continue this communication at pleasure. Up, down, around, the kingdom of thought has no inclosures, but the Muse makes us free of her city. Well, the world has a million writers. One would think then that good thought would be as familiar as air and water, and the gifts of each new hour would exclude the last. Yet we can count all our good books; nay, I remember any beautiful verse for twenty years. It is true that the discerning intellect of the world is always much in advance of the creative, so that there are many competent judges of the best book, and few writers of the best books. But some of the conditions of intellectual construction are of rare occurrence. The intellect is a whole and demands integrity in every work. This is resisted equally by a man's devotion to a single thought and by his ambition to combine too many.

Truth is our element of life, yet if a man fasten his attention on a single aspect of truth and apply himself to that alone for a long time, the truth becomes distorted and not itself but falsehood; herein resembling the air, which is our natural element, and the breath of our nostrils, but if a stream of the same be directed on the body for a time, it causes cold, fever, and even death. How wearisome the grammarian, the phrenologist, the political or religious fanatic, or indeed any possessed mortal whose balance is lost by the exaggeration of a single topic. It is incipient insanity. Every thought is a prison also. I cannot see what you see, because I am caught up by a strong wind and blown so far in one direction that I am out of the hoop of your horizon.

Is it any better if the student, to avoid this offence, and to liberalize himself, aims to make a mechanical whole of history, or science, or philosophy, by a numerical addition of all the facts that fall within his vision? The world refuses to be a.n.a.lyzed by addition and subtraction. When we are young we spend much time and pains in filling our note-books with all definitions of Religion, Love, Poetry, Politics, Art, in the hope that in the course of a few years we shall have condensed into our encyclopaedia the net value of all the theories at which the world has yet arrived. But year after year our tables get no completeness, and at last we discover that our curve is a parabola, whose arcs will never meet.

Neither by detachment neither by aggregation is the integrity of the intellect transmitted to its works, but by a vigilance which brings the intellect in its greatness and best state to operate every moment. It must have the same wholeness which nature has. Although no diligence can rebuild the universe in a model by the best acc.u.mulation or disposition of details, yet does the world reappear in miniature in every event, so that all the laws of nature may be read in the smallest fact. The intellect must have the like perfection in its apprehension and in its works. For this reason, an index or mercury of intellectual proficiency is the perception of ident.i.ty. We talk with accomplished persons who appear to be strangers in nature. The cloud, the tree, the turf, the bird are not theirs, have nothing of them; the world is only their lodging and table. But the poet, whose verses are to be spheral and complete, is one whom Nature cannot deceive, whatsoever face of strangeness she may put on. He feels a strict consanguinity, and detects more likeness than variety in all her changes. We are stung by the desire for new thought; but when we receive a new thought it is only the old thought with a new face, and though we make it our own we instantly crave another; we are not really enriched. For the truth was in us before it was reflected to us from natural objects; and the profound genius will cast the likeness of all creatures into every product of his wit.

But if the constructive powers are rare and it is given to few men to be poets, yet every man is a receiver of this descending holy ghost, and may well study the laws of its influx. Exactly parallel is the whole rule of intellectual duty to the rule of moral duty. A self-denial no less austere than the saint's is demanded of the scholar. He must wors.h.i.+p truth, and forego all things for that, and choose defeat and pain, so that his treasure in thought is thereby augmented.

G.o.d offers to every mind its choice between truth and repose. Take which you please,--you can never have both. Between these, as a pendulum, man oscillates. He in whom the love of repose predominates will accept the first creed, the first philosophy, the first political party he meets,--most likely his father's. He gets rest, commodity, and reputation; but he shuts the door of truth. He in whom the love of truth predominates will keep himself aloof from all moorings, and afloat. He will abstain from dogmatism, and recognize all the opposite negations between which, as walls, his being is swung. He submits to the inconvenience of suspense and imperfect opinion, but he is a candidate for truth, as the other is not, and respects the highest law of his being.

The circle of the green earth he must measure with his shoes to find the man who can yield him truth. He shall then know that there is somewhat more blessed and great in hearing than in speaking. Happy is the hearing man; unhappy the speaking man. As long as I hear truth I am bathed by a beautiful element and am not conscious of any limits to my nature. The suggestions are thousandfold that I hear and see. The waters of the great deep have ingress and egress to the soul. But if I speak, I define, I confine and am less. When Socrates speaks, Lysis and Menexenus are afflicted by no shame that they do not speak. They also are good.

He likewise defers to them, loves them, whilst he speaks. Because a true and natural man contains and is the same truth which an eloquent man articulates; but in the eloquent man, because he can articulate it, it seems something the less to reside, and he turns to these silent beautiful with the more inclination and respect. The ancient sentence said, Let us be silent, for so are the G.o.ds. Silence is a solvent that destroys personality, and gives us leave to be great and universal.

Every man's progress is through a succession of teachers, each of whom seems at the time to have a superlative influence, but it at last gives place to a new. Frankly let him accept it all. Jesus says, Leave father, mother, house and lands, and follow me. Who leaves all, receives more.

This is as true intellectually as morally. Each new mind we approach seems to require an abdication of all our past and present possessions.

A new doctrine seems at first a subversion of all our opinions, tastes, and manner of living. Such has Swedenborg, such has Kant, such has Coleridge, such has Hegel or his interpreter Cousin seemed to many young men in this country. Take thankfully and heartily all they can give.

Exhaust them, wrestle with them, let them not go until their blessing be won, and after a short season the dismay will be overpast, the excess of influence withdrawn, and they will be no longer an alarming meteor, but one more bright star s.h.i.+ning serenely in your heaven and blending its light with all your day.

But whilst he gives himself up unreservedly to that which draws him, because that is his own, he is to refuse himself to that which draws him not, whatsoever fame and authority may attend it, because it is not his own. Entire self-reliance belongs to the intellect. One soul is a counterpoise of all souls, as a capillary column of water is a balance for the sea. It must treat things and books and sovereign genius as itself also a sovereign. If Aeschylus be that man he is taken for, he has not yet done his office when he has educated the learned of Europe for a thousand years. He is now to approve himself a master of delight to me also. If he cannot do that, all his fame shall avail him nothing with me. I were a fool not to sacrifice a thousand Aeschyluses to my intellectual integrity. Especially take the same ground in regard to abstract truth, the science of the mind. The Bacon, the Spinoza, the Hume, Sch.e.l.ling, Kant, or whosoever propounds to you a philosophy of the mind, is only a more or less awkward translator of things in your consciousness which you have also your way of seeing, perhaps of denominating. Say then, instead of too timidly poring into his obscure sense, that he has not succeeded in rendering back to you your consciousness. He has not succeeded; now let another try. If Plato cannot, perhaps Spinoza will. If Spinoza cannot, then perhaps Kant.

Anyhow, when at last it is done, you will find it is no recondite, but a simple, natural, common state which the writer restores to you.

But let us end these didactics. I will not, though the subject might provoke it, speak to the open question between Truth and Love. I shall not presume to interfere in the old politics of the skies;--"The cherubim know most; the seraphim love most." The G.o.ds shall settle their own quarrels. But I cannot recite, even thus rudely, laws of the intellect, without remembering that lofty and sequestered cla.s.s of men who have been its prophets and oracles, the high-priesthood of the pure reason, the Trismegisti, the expounders of the principles of thought from age to age. When at long intervals we turn over their abstruse pages, wonderful seems the calm and grand air of these few, these great spiritual lords who have walked in the world,--these of the old religion,--dwelling in a wors.h.i.+p which makes the sanct.i.ties of Christianity look parvenues and popular; for "persuasion is in soul, but necessity is in intellect." This band of grandees, Hermes, Herac.l.i.tus, Empedocles, Plato, Plotinus, Olympiodorus, Proclus, Synesius and the rest, have somewhat so vast in their logic, so primary in their thinking, that it seems antecedent to all the ordinary distinctions of rhetoric and literature, and to be at once poetry and music and dancing and astronomy and mathematics. I am present at the sowing of the seed of the world. With a geometry of sunbeams the soul lays the foundations of nature. The truth and grandeur of their thought is proved by its scope and applicability, for it commands the entire schedule and inventory of things for its ill.u.s.tration. But what marks its elevation and has even a comic look to us, is the innocent serenity with which these babe-like Jupiters sit in their clouds, and from age to age prattle to each other and to no contemporary. Well a.s.sured that their speech is intelligible and the most natural thing in the world, they add thesis to thesis, without a moment's heed of the universal astonishment of the human race below, who do not comprehend their plainest argument; nor do they ever relent so much as to insert a popular or explaining sentence, nor testify the least displeasure or petulance at the dulness of their amazed auditory. The angels are so enamored of the language that is spoken in heaven that they will not distort their lips with the hissing and unmusical dialects of men, but speak their own, whether there be any who understand it or not.

ART.

GIVE to barrows trays and pans Grace and glimmer of romance, Bring the moonlight into noon Hid in gleaming piles of stone; On the city's paved street Plant gardens lined with lilac sweet, Let spouting fountains cool the air, Singing in the sun-baked square.

Let statue, picture, park and hall, Ballad, flag and festival, The past restore, the day adorn And make each morrow a new morn So shall the drudge in dusty frock Spy behind the city clock Retinues of airy kings, Skirts of angels, starry wings, His fathers s.h.i.+ning in bright fables, His children fed at heavenly tables.

'Tis the privilege of Art Thus to play its cheerful part, Man in Earth to acclimate And bend the exile to his fate, And, moulded of one element With the days and firmament, Teach him on these as stairs to climb And live on even terms with Time; Whilst upper life the slender rill Of human sense doth overfill.

XII. ART.

Because the soul is progressive, it never quite repeats itself, but in every act attempts the production of a new and fairer whole. This appears in works both of the useful and the fine arts, if we employ the popular distinction of works according to their aim either at use or beauty. Thus in our fine arts, not imitation but creation is the aim. In landscapes the painter should give the suggestion of a fairer creation than we know. The details, the prose of nature he should omit and give us only the spirit and splendor. He should know that the landscape has beauty for his eye because it expresses a thought which is to him good; and this because the same power which sees through his eyes is seen in that spectacle; and he will come to value the expression of nature and not nature itself, and so exalt in his copy the features that please him. He will give the gloom of gloom and the suns.h.i.+ne of suns.h.i.+ne. In a portrait he must inscribe the character and not the features, and must esteem the man who sits to him as himself only an imperfect picture or likeness of the aspiring original within.

What is that abridgment and selection we observe in all spiritual activity, but itself the creative impulse? for it is the inlet of that higher illumination which teaches to convey a larger sense by simpler symbols. What is a man but nature's finer success in self-explication?

What is a man but a finer and compacter landscape than the horizon figures,--nature's eclecticism? and what is his speech, his love of painting, love of nature, but a still finer success,--all the weary miles and tons of s.p.a.ce and bulk left out, and the spirit or moral of it contracted into a musical word, or the most cunning stroke of the pencil?

But the artist must employ the symbols in use in his day and nation to convey his enlarged sense to his fellow-men. Thus the new in art is always formed out of the old. The Genius of the Hour sets his ineffaceable seal on the work and gives it an inexpressible charm for the imagination. As far as the spiritual character of the period overpowers the artist and finds expression in his work, so far it will retain a certain grandeur, and will represent to future beholders the Unknown, the Inevitable, the Divine. No man can quite exclude this element of Necessity from his labor. No man can quite emanc.i.p.ate himself from his age and country, or produce a model in which the education, the religion, the politics, usages and arts of his times shall have no share. Though he were never so original, never so wilful and fantastic, he cannot wipe out of his work every trace of the thoughts amidst which it grew. The very avoidance betrays the usage he avoids. Above his will and out of his sight he is necessitated by the air he breathes and the idea on which he and his contemporaries live and toil, to share the manner of his times, without knowing what that manner is. Now that which is inevitable in the work has a higher charm than individual talent can ever give, inasmuch as the artist's pen or chisel seems to have been held and guided by a gigantic hand to inscribe a line in the history of the human race. This circ.u.mstance gives a value to the Egyptian hieroglyphics, to the Indian, Chinese and Mexican idols, however gross and shapeless. They denote the height of the human soul in that hour, and were not fantastic, but sprung from a necessity as deep as the world. Shall I now add that the whole extant product of the plastic arts has herein its highest value, as history; as a stroke drawn in the portrait of that fate, perfect and beautiful, according to whose ordinations all beings advance to their beat.i.tude?

Thus, historically viewed, it has been the office of art to educate the perception of beauty. We are immersed in beauty, but our eyes have no clear vision. It needs, by the exhibition of single traits, to a.s.sist and lead the dormant taste. We carve and paint, or we behold what is carved and painted, as students of the mystery of Form. The virtue of art lies in detachment, in sequestering one object from the embarra.s.sing variety. Until one thing comes out from the connection of things, there can be enjoyment, contemplation, but no thought. Our happiness and unhappiness are unproductive. The infant lies in a pleasing trance, but his individual character and his practical power depend on his daily progress in the separation of things, and dealing with one at a time.

Love and all the pa.s.sions concentrate all existence around a single form. It is the habit of certain minds to give an all-excluding fulness to the object, the thought, the word, they alight upon, and to make that for the time the deputy of the world. These are the artists, the orators, the leaders of society. The power to detach and to magnify by detaching is the essence of rhetoric in the hands of the orator and the poet. This rhetoric, or power to fix the momentary eminency of an object,--so remarkable in Burke, in Byron, in Carlyle,--the painter and sculptor exhibit in color and in stone. The power depends on the depth of the artist's insight of that object he contemplates. For every object has its roots in central nature, and may of course be so exhibited to us as to represent the world. Therefore each work of genius is the tyrant of the hour And concentrates attention on itself. For the time, it is the only thing worth naming to do that,--be it a sonnet, an opera, a landscape, a statue, an oration, the plan of a temple, of a campaign, or of a voyage of discovery. Presently we pa.s.s to some other object, which rounds itself into a whole as did the first; for example a well-laid garden; and nothing seems worth doing but the laying out of gardens. I should think fire the best thing in the world, if I were not acquainted with air, and water, and earth. For it is the right and property of all natural objects, of all genuine talents, of all native properties whatsoever, to be for their moment the top of the world. A squirrel leaping from bough to bough and making the Wood but one wide tree for his pleasure, fills the eye not less than a lion,--is beautiful, self-sufficing, and stands then and there for nature. A good ballad draws my ear and heart whilst I listen, as much as an epic has done before. A dog, drawn by a master, or a litter of pigs, satisfies and is a reality not less than the frescoes of Angelo. From this succession of excellent objects we learn at last the immensity of the world, the opulence of human nature, which can run out to infinitude in any direction. But I also learn that what astonished and fascinated me in the first work astonished me in the second work also; that excellence of all things is one.

The office of painting and sculpture seems to be merely initial. The best pictures can easily tell us their last secret. The best pictures are rude draughts of a few of the miraculous dots and lines and dyes which make up the ever-changing "landscape with figures" amidst which we dwell. Painting seems to be to the eye what dancing is to the limbs.

When that has educated the frame to self-possession, to nimbleness, to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms. If he can draw every thing, why draw any thing? and then is my eye opened to the eternal picture which nature paints in the street, with moving men and children, beggars and fine ladies, draped in red and green and blue and gray; long-haired, grizzled, white-faced, black-faced, wrinkled, giant, dwarf, expanded, elfish,--capped and based by heaven, earth and sea.

A gallery of sculpture teaches more austerely the same lesson. As picture teaches the coloring, so sculpture the anatomy of form. When I have seen fine statues and afterwards enter a public a.s.sembly, I understand well what he meant who said, "When I have been reading Homer, all men look like giants." I too see that painting and sculpture are gymnastics of the eye, its training to the niceties and curiosities of its function. There is no statue like this living man, with his infinite advantage over all ideal sculpture, of perpetual variety. What a gallery of art have I here! No mannerist made these varied groups and diverse original single figures. Here is the artist himself improvising, grim and glad, at his block. Now one thought strikes him, now another, and with each moment he alters the whole air, att.i.tude and expression of his clay. Away with your nonsense of oil and easels, of marble and chisels; except to open your eyes to the masteries of eternal art, they are hypocritical rubbish.

The reference of all production at last to an aboriginal Power explains the traits common to all works of the highest art,--that they are universally intelligible; that they restore to us the simplest states of mind, and are religious. Since what skill is therein shown is the reappearance of the original soul, a jet of pure light, it should produce a similar impression to that made by natural objects. In happy hours, nature appears to us one with art; art perfected,--the work of genius. And the individual, in whom simple tastes and susceptibility to all the great human influences overpower the accidents of a local and special culture, is the best critic of art. Though we travel the world over to find the beautiful, we must carry it with us, or we find it not.

The best of beauty is a finer charm than skill in surfaces, in outlines, or rules of art can ever teach, namely a radiation from the work of art of human character,--a wonderful expression through stone, or canvas, or musical sound, of the deepest and simplest attributes of our nature, and therefore most intelligible at last to those souls which have these attributes. In the sculptures of the Greeks, in the masonry of the Romans, and in the pictures of the Tuscan and Venetian masters, the highest charm is the universal language they speak. A confession of moral nature, of purity, love, and hope, breathes from them all. That which we carry to them, the same we bring back more fairly ill.u.s.trated in the memory. The traveller who visits the Vatican, and pa.s.ses from chamber to chamber through galleries of statues, vases, sarcophagi and candelabra, through all forms of beauty cut in the richest materials, is in danger of forgetting the simplicity of the principles out of which they all sprung, and that they had their origin from thoughts and laws in his own breast. He studies the technical rules on these wonderful remains, but forgets that these works were not always thus constellated; that they are the contributions of many ages and many countries; that each came out of the solitary workshop of one artist, who toiled perhaps in ignorance of the existence of other sculpture, created his work without other model save life, household life, and the sweet and smart of personal relations, of beating hearts, and meeting eyes; of poverty and necessity and hope and fear. These were his inspirations, and these are the effects he carries home to your heart and mind. In proportion to his force, the artist will find in his work an outlet for his proper character. He must not be in any manner pinched or hindered by his material, but through his necessity of imparting himself the adamant will be wax in his hands, and will allow an adequate communication of himself, in his full stature and proportion. He need not c.u.mber himself with a conventional nature and culture, nor ask what is the mode in Rome or in Paris, but that house and weather and manner of living which poverty and the fate of birth have made at once so odious and so dear, in the gray unpainted wood cabin, on the corner of a New Hamps.h.i.+re farm, or in the log-hut of the backwoods, or in the narrow lodging where he has endured the constraints and seeming of a city poverty, will serve as well as any other condition as the symbol of a thought which pours itself indifferently through all.

I remember when in my younger days I had heard of the wonders of Italian painting, I fancied the great pictures would be great strangers; some surprising combination of color and form; a foreign wonder, barbaric pearl and gold, like the spontoons and standards of the militia, which play such pranks in the eyes and imaginations of school-boys. I was to see and acquire I knew not what. When I came at last to Rome and saw with eyes the pictures, I found that genius left to novices the gay and fantastic and ostentatious, and itself pierced directly to the simple and true; that it was familiar and sincere; that it was the old, eternal fact I had met already in so many forms,--unto which I lived; that it was the plain you and me I knew so well,--had left at home in so many conversations. I had the same experience already in a church at Naples.

There I saw that nothing was changed with me but the place, and said to myself--'Thou foolish child, hast thou come out hither, over four thousand miles of salt water, to find that which was perfect to thee there at home?' That fact I saw again in the Academmia at Naples, in the chambers of sculpture, and yet again when I came to Rome and to the paintings of Raphael, Angelo, Sacchi, t.i.tian, and Leonardo da Vinci.

"What, old mole! workest thou in the earth so fast?" It had travelled by my side; that which I fancied I had left in Boston was here in the Vatican, and again at Milan and at Paris, and made all travelling ridiculous as a treadmill. I now require this of all pictures, that they domesticate me, not that they dazzle me. Pictures must not be too picturesque. Nothing astonishes men so much as common-sense and plain dealing. All great actions have been simple, and all great pictures are.

The Transfiguration, by Raphael, is an eminent example of this peculiar merit. A calm benignant beauty s.h.i.+nes over all this picture, and goes directly to the heart. It seems almost to call you by name. The sweet and sublime face of Jesus is beyond praise, yet how it disappoints all florid expectations! This familiar, simple, home-speaking countenance is as if one should meet a friend. The knowledge of picture-dealers has its value, but listen not to their criticism when your heart is touched by genius. It was not painted for them, it was painted for you; for such as had eyes capable of being touched by simplicity and lofty emotions.

Yet when we have said all our fine things about the arts, we must end with a frank confession, that the arts, as we know them, are but initial. Our best praise is given to what they aimed and promised, not to the actual result. He has conceived meanly of the resources of man, who believes that the best age of production is past. The real value of the Iliad or the Transfiguration is as signs of power; billows or ripples they are of the stream of tendency; tokens of the everlasting effort to produce, which even in its worst estate the soul betrays. Art has not yet come to its maturity if it do not put itself abreast with the most potent influences of the world, if it is not practical and moral, if it do not stand in connection with the conscience, if it do not make the poor and uncultivated feel that it addresses them with a voice of lofty cheer. There is higher work for Art than the arts. They are abortive births of an imperfect or vitiated instinct. Art is the need to create; but in its essence, immense and universal, it is impatient of working with lame or tied hands, and of making cripples and monsters, such as all pictures and statues are. Nothing less than the creation of man and nature is its end. A man should find in it an outlet for his whole energy. He may paint and carve only as long as he can do that. Art should exhilarate, and throw down the walls of circ.u.mstance on every side, awakening in the beholder the same sense of universal relation and power which the work evinced in the artist, and its highest effect is to make new artists.

Already History is old enough to witness the old age and disappearance of particular arts. The art of sculpture is long ago perished to any real effect. It was originally a useful art, a mode of writing, a savage's record of grat.i.tude or devotion, and among a people possessed of a wonderful perception of form this childish carving was refined to the utmost splendor of effect. But it is the game of a rude and youthful people, and not the manly labor of a wise and spiritual nation. Under an oak-tree loaded with leaves and nuts, under a sky full of eternal eyes, I stand in a thoroughfare; but in the works of our plastic arts and especially of sculpture, creation is driven into a corner. I cannot hide from myself that there is a certain appearance of paltriness, as of toys and the trumpery of a theatre, in sculpture. Nature transcends all our moods of thought, and its secret we do not yet find. But the gallery stands at the mercy of our moods, and there is a moment when it becomes frivolous. I do not wonder that Newton, with an attention habitually engaged on the paths of planets and suns, should have wondered what the Earl of Pembroke found to admire in "stone dolls." Sculpture may serve to teach the pupil how deep is the secret of form, how purely the spirit can translate its meanings into that eloquent dialect. But the statue will look cold and false before that new activity which needs to roll through all things, and is impatient of counterfeits and things not alive. Picture and sculpture are the celebrations and festivities of form. But true art is never fixed, but always flowing. The sweetest music is not in the oratorio, but in the human voice when it speaks from its instant life tones of tenderness, truth, or courage. The oratorio has already lost its relation to the morning, to the sun, and the earth, but that persuading voice is in tune with these. All works of art should not be detached, but extempore performances. A great man is a new statue in every att.i.tude and action. A beautiful woman is a picture which drives all beholders n.o.bly mad. Life may be lyric or epic, as well as a poem or a romance.

A true announcement of the law of creation, if a man were found worthy to declare it, would carry art up into the kingdom of nature, and destroy its separate and contrasted existence. The fountains of invention and beauty in modern society are all but dried up. A popular novel, a theatre, or a ball-room makes us feel that we are all paupers in the alms-house of this world, without dignity, without skill or industry. Art is as poor and low. The old tragic Necessity, which lowers on the brows even of the Venuses and the Cupids of the antique, and furnishes the sole apology for the intrusion of such anomalous figures into nature,--namely, that they were inevitable; that the artist was drunk with a pa.s.sion for form which he could not resist, and which vented itself in these fine extravagances,--no longer dignifies the chisel or the pencil. But the artist and the connoisseur now seek in art the exhibition of their talent, or an asylum from the evils of life.

Men are not well pleased with the figure they make in their own imaginations, and they flee to art, and convey their better sense in an oratorio, a statue, or a picture. Art makes the same effort which a sensual prosperity makes; namely to detach the beautiful from the useful, to do up the work as unavoidable, and, hating it, pa.s.s on to enjoyment. These solaces and compensations, this division of beauty from use, the laws of nature do not permit. As soon as beauty is sought, not from religion and love but for pleasure, it degrades the seeker. High beauty is no longer attainable by him in canvas or in stone, in sound, or in lyrical construction; an effeminate, prudent, sickly beauty, which is not beauty, is all that can be formed; for the hand can never execute any thing higher than the character can inspire.

The art that thus separates is itself first separated. Art must not be a superficial talent, but must begin farther back in man. Now men do not see nature to be beautiful, and they go to make a statue which shall be. They abhor men as tasteless, dull, and inconvertible, and console themselves with color-bags and blocks of marble. They reject life as prosaic, and create a death which they call poetic. They despatch the day's weary ch.o.r.es, and fly to voluptuous reveries. They eat and drink, that they may afterwards execute the ideal. Thus is art vilified; the name conveys to the mind its secondary and bad senses; it stands in the imagination as somewhat contrary to nature, and struck with death from the first. Would it not be better to begin higher up,--to serve the ideal before they eat and drink; to serve the ideal in eating and drinking, in drawing the breath, and in the functions of life? Beauty must come back to the useful arts, and the distinction between the fine and the useful arts be forgotten. If history were truly told, if life were n.o.bly spent, it would be no longer easy or possible to distinguish the one from the other. In nature, all is useful, all is beautiful. It is therefore beautiful because it is alive, moving, reproductive; it is therefore useful because it is symmetrical and fair. Beauty will not come at the call of a legislature, nor will it repeat in England or America its history in Greece. It will come, as always, unannounced, and spring up between the feet of brave and earnest men. It is in vain that we look for genius to reiterate its miracles in the old arts; it is its instinct to find beauty and holiness in new and necessary facts, in the field and road-side, in the shop and mill. Proceeding from a religious heart it will raise to a divine use the railroad, the insurance office, the joint-stock company; our law, our primary a.s.semblies, our commerce, the galvanic battery, the electric jar, the prism, and the chemist's retort; in which we seek now only an economical use. Is not the selfish and even cruel aspect which belongs to our great mechanical works, to mills, railways, and machinery, the effect of the mercenary impulses which these works obey? When its errands are n.o.ble and adequate, a steamboat bridging the Atlantic between Old and New England and arriving at its ports with the punctuality of a planet, is a step of man into harmony with nature. The boat at St. Petersburg, which plies along the Lena by magnetism, needs little to make it sublime. When science is learned in love, and its powers are wielded by love, they will appear the supplements and continuations of the material creation.