The Sense of Beauty by George Santayana (phonics reading books TXT) 📕

some interest. This interest furnishes the standard by which the facts are selected, and their importance gauged. Then, after the facts are thus chosen, marshalled, and emphasized, comes the indication of causes and relations; and in this part of his work the historian plunges avowedly into speculation, and becomes a philosophical poet. Everything will then depend on his genius, on his principles, on his passions, — in a word, on his apperceptive forms. And the value of history is similar to that of poetry, and varies with the beauty, power, and adequacy of the form in which the indeterminate material of human life is presented.

Further dangers of indeterminateness.

§ 35. The fondness of a race or epoch for any kind of effect is a natural expression of temperament and circumstances, and cannot be blamed or easily corrected. At the same time we may stop to consider some of the disadvantages of a taste for the indeterminate. We shall be registering a truth and at the same time, perhaps, giving some encouragement to that rebellion which we may inwardly feel against this too prevalent manner. The indeterminate is by its nature ambiguous; it is therefore obscure and uncertain in its effect, and if used, as in many arts it often is, to convey a meaning, must fail to do so unequivocally. Where a meaning is not to be conveyed, as in landscape, architecture, or music, the illusiveness of the form is not so objectionable: although in all these objects the tendency to observe forms and to demand them is a sign of increasing appreciation. The ignorant fail to see the forms of music, architecture, and landscape, and therefore are insensible to relative rank and technical values in these spheres; they regard the objects only as so many stimuli to emotion, as soothing or enlivening influences. But the sensuous and associative values of these things — especially of music — are so great, that even without an appreciation of form considerable beauty may be found in them.

In literature, however, where the sensuous value of the words is comparatively small, indeterminateness of form is fatal to beauty, and, if extreme, even to expressiveness. For meaning is conveyed by the form and order of words, not by the words themselves, and no precision of meaning can be reached without precision of style. Therefore no respectable writer is voluntarily obscure in the structure of his phrases — that is an abuse reserved for the clowns of literary fashion. But a book is a larger sentence, and if it is formless it fails to mean anything, for the same reason that an unformed collection of words means nothing. The chapters and verses may have said something, as loose words may have a known sense and a tone; but the book will have brought no message.

In fact, the absence of form in composition has two stages: that in which, as in the works of Emerson, significant fragments are collected, and no system, no total thought, constructed out of them; and secondly, that in which, as in the writings of the Symbolists of our time, all the significance is kept back in the individual words, or even in the syllables that compose them. This mosaic of word-values has, indeed, a possibility of effect, for the absence of form does not destroy materials, but, as we have observed, rather allows the attention to remain fixed upon them; and for this reason absence of sense is a means of accentuating beauty of sound and verbal suggestion. But this example shows how the tendency to neglect structure in literature is a tendency to surrender the use of language as an instrument of thought The descent is easy from ambiguity to meaninglessness.

The indeterminate in form is also indeterminate in value. It needs completion by the mind of the observer and as this completion differs, the value of the result must vary. An indeterminate object is therefore beautiful to him who can make it so, and ugly to him who cannot. It appeals to a few and to them diversely. In fact, the observer's own mind is the storehouse from which the beautiful form has to be drawn. If the form is not there, it cannot be applied to the half-finished object; it is like asking a man without skill to complete another man's composition. The indeterminate object therefore requires an active and well-equipped mind, and is otherwise without value.

It is furthermore unprofitable even to the mind which takes it up; it stimulates that mind to action, but it presents it with no new object. We can respond only with those forms of apperception which we already are accustomed to. A formless object cannot inform the mind, cannot mould it to a new habit. That happens only when the data, by their clear determination, compel the eye and imagination to follow new paths and see new relations. Then we are introduced to a new beauty, and enriched to that extent. But the indeterminate, like music to the sentimental, is a vague stimulus. It calls forth at random such ideas and memories as may lie to hand, stirring the mind, but leaving it undisciplined and unacquainted with any new object. This stirring, like that of the pool of Bethesda, may indeed have its virtue. A creative mind, already rich in experience and observation, may, under the influence of such a stimulus, dart into a new thought, and give birth to that with which it is already pregnant; but the fertilizing seed came from elsewhere, from study and admiration of those definite forms which nature contains, or which art, in imitation of nature, has conceived and brought to perfection.

Illusion of infinite perfection.

§ 36. The great advantage, then, of indeterminate organization is that it cultivates that spontaneity, intelligence, and imagination without which many important objects would remain unintelligible, and because unintelligible, uninteresting. The beauty of landscape, the forms of religion and science, the types of human nature itself, are due to this apperceptive gift. Without it we should have a chaos; but its patient and ever-fresh activity carves out of the fluid material a great variety of forms. An object which stimulates us to this activity, therefore, seems often to be more sublime and beautiful than one which presents to us a single unchanging form, however perfect. There seems to be a life and infinity in the incomplete, which the determinate excludes by its own completeness and petrifaction. And yet the effort in this very activity is to reach determination; we can only see beauty in so far as we introduce form. The instability of the form can be no advantage to a work of art; the determinate keeps constantly what the indeterminate reaches only in those moments in which the observer's imagination is especially propitious. If we feel a certain disappointment in the monotonous limits of a definite form and its eternal, unsympathizing message, might we not feel much more the melancholy transiency of those glimpses of beauty which elude us in the indeterminate? Might not the torment and uncertainty of this contemplation, with the self-consciousness it probably involves, more easily tire us than the quiet companionship of a constant object? May we not prefer the unchangeable to the irrecoverable?

We may; and the preference is one which we should all more clearly feel, were it not for an illusion, proper to the romantic temperament, which lends a mysterious charm to things which are indefinite and indefinable. It is the suggestion of infinite perfection. In reality, perfection is a synonym of finitude. Neither in nature nor in the fancy can anything be perfect except by realizing a definite type, which excludes all variation, and contrasts sharply with every other possibility of being. There is no perfection apart from a form of apperception or type; and there are as many kinds of perfection as there are types or forms of apperception latent in the mind.

Now these various perfections are mutually exclusive. Only in a kind of aesthetic orgy — in the madness of an intoxicated imagination — can we confuse them. As the Roman emperor wished that the Roman people had but a single neck, to murder them at one blow, so we may sometimes wish that all beauties had but one form, that we might behold them together. But in the nature of things beauties are incompatible. The spring cannot coexist with the autumn, nor day with night; what is beautiful in a child is hideous in a man, and vice versa; every age, every country, each sex, has a peculiar beauty, finite and incommunicable; the better it is attained the more completely it excludes every other. The same is evidently true of schools of art, of styles and languages, and of every effect whatsoever. It exists by its finitude and is great in proportion to its determination.

But there is a loose and somewhat helpless state of mind in which while we are incapable of realizing any particular thought or vision in its perfect clearness and absolute beauty, we nevertheless feel its haunting presence in the background of consciousness. And one reason why the idea cannot emerge from that obscurity is that it is not alone in the brain; a thousand other ideals, a thousand other plastic tendencies of thought, simmer there in confusion; and if any definite image is presented in response to that vague agitation of our soul, we feel its inadequacy to our need in spite of, or perhaps on account of, its own particular perfection. We then say that the classic does not satisfy us, and that the "Grecian cloys us with his perfectness." We are not capable of that concentrated and serious attention to one thing at a time which would enable us to sink into its being, and enjoy the intrinsic harmonies of its form, and the bliss of its immanent particular heaven; we flounder in the vague, but at the same time we are full of yearnings, of half-thoughts and semi-visions, and the upward tendency and exaltation of our mood is emphatic and overpowering in proportion to our incapacity to think, speak, or imagine.

The sum of our incoherences has, however, an imposing volume and even, perhaps, a vague, general direction. We feel ourselves laden with an infinite burden; and what delights us most and seems to us to come nearest to the ideal is not what embodies any one possible form, but that which, by embodying none, suggests many, and stirs the mass of our inarticulate imagination with a pervasive thrill. Each thing, without being a beauty in itself, by stimulating our indeterminate emotion, seems to be a hint and expression of infinite beauty. That infinite perfection which cannot be realized, because it is self-contradictory, may be thus suggested, and on account of this suggestion an indeterminate effect may be regarded as higher, more significant, and more beautiful than any determinate one.

The illusion, however, is obvious. The infinite perfection suggested is an absurdity. What exists is a vague emotion, the objects of which, if they could emerge from the chaos of a confused imagination, would turn out to be a multitude of differently beautiful determinate things. This emotion of infinite perfection is the materia prima — rudis indigestaque moles — out of which attention, inspiration, and art can bring forth an infinity of particular perfections. Every aesthetic success, whether in contemplation or production, is the birth of one of these possibilities with which the sense of infinite perfection is pregnant. A work of art or an act of observation which remains indeterminate is, therefore, a failure, however much it may stir our emotion. It is a failure for two reasons. In the first place this emotion is seldom wholly pleasant; it is disquieting and perplexing; it brings a desire rather than a satisfaction. And in the second place, the emotion, not being embodied, fails to constitute the beauty of anything; and what we have is merely a sentiment, a consciousness that values are or might be