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

add the circling of birds about the towers, and you have an unforgettable type of beauty; not perhaps the noblest, sanest, or most enduring, but one for the existence of which the imagination is richer, and the world more interesting.

In this manner we accept the forms imposed upon us by utility, and train ourselves to apperceive their potential beauty. Familiarity breeds contempt only when it breeds inattention. When the mind is absorbed and dominated by its perceptions, it incorporates into them more and more of its own functional values, and makes them ultimately beautiful and expressive. Thus no language can be ugly to those who speak it well, no religion unmeaning to those who have learned to pour their life into its moulds.

Of course these forms vary in intrinsic excellence; they are by their specific character more or less fit and facile for the average mind. But the man and the age are rare who can choose their own path; we have generally only a choice between going ahead in the direction already chosen, or halting and blocking the path for others. The only kind of reform usually possible is reform from within; a more intimate study and more intelligent use of the traditional forms. Disaster follows rebellion against tradition or against utility, which are the basis and root of our taste and progress. But, within the given school, and as exponents of its spirit, we can adapt and perfect our works, if haply we are better inspired than our predecessors. For the better we know a given thing, and the more we perceive its strong and weak points, the more capable we are of idealizing it.

Form in words.

§ 42. The main effect of language consists in its meaning, in the ideas which it expresses. But no expression is possible without a presentation, and this presentation must have a form. This form of the instrument of expression is itself an element of effect, although in practical life we may overlook it in our haste to attend to the meaning it conveys. It is, moreover, a condition of the kind of expression possible, and often determines the manner in which the object suggested shall be apperceived. No word has the exact value of any other in the same or in another language.[13] But the intrinsic effect of language does not stop there. The single word is but a stage in the series of formations which constitute language, and which preserve for men the fruit of their experience, distilled and concentrated into a symbol.

This formation begins with the elementary sounds themselves, which have to be discriminated and combined to make recognizable symbols. The evolution of these symbols goes on spontaneously, suggested by our tendency to utter all manner of sounds, and preserved by the ease with which the ear discriminates these sounds when made. Speech would be an absolute and unrelated art, like music, were it not controlled by utility. The sounds have indeed no resemblance to the objects they symbolize; but before the system of sounds can represent the system of objects, there has to be a correspondence in the groupings of both. The structure of language, unlike that of music, thus becomes a mirror of the structure of the world as presented to the intelligence.

Grammar, philosophically studied, is akin to the deepest metaphysics, because in revealing the constitution of speech, it reveals the constitution of thought, and the hierarchy of those categories by which we conceive the world. It is by virtue of this parallel development that language has its function of expressing experience with exactness, and the poet — to whom language is an instrument of art — has to employ it also with a constant reference to meaning and veracity; that is, he must be a master of experience before he can become a true master of words. Nevertheless, language is primarily a sort of music, and the beautiful effects which it produces are due to its own structure, giving, as it crystallizes in a new fashion, an unforeseen form to experience.

Poets may be divided into two classes: the musicians and the psychologists. The first are masters of significant language as harmony; they know what notes to sound together and in succession; they can produce, by the marshalling of sounds and images, by the fugue of passion and the snap of wit, a thousand brilliant effects out of old materials. The Ciceronian orator, the epigrammatic, lyric, and elegiac poets, give examples of this art. The psychologists, on the other hand, gain their effect not by the intrinsic mastery of language, but by the closer adaptation of it to things. The dramatic poets naturally furnish an illustration.

But however transparent we may wish to make our language, however little we may call for its intrinsic effects, and direct our attention exclusively to its expressiveness, we cannot avoid the limitations of our particular medium. The character of the tongue a man speaks, and the degree of his skill in speaking it, must always count enormously in the aesthetic value of his compositions; no skill in observation, no depth of thought or feeling, but is spoiled by a bad style and enhanced by a good one. The diversities of tongues and their irreducible aesthetic values, begins with the very sound of the letters, with the mode of utterance, and the characteristic inflections of the voice; notice, for instance, the effect of the French of these lines of Alfred de Musset,

     Jamais deux yeux plus doux n'ont du ciel le plus pur
     Sondé la profondeur et réfléchi l'azur.

and compare with its flute-like and treble quality the breadth, depth, and volume of the German in this inimitable stanza of Goethe's:

     Ueber alien Gipfeln
     Ist Ruh,
     In allen Wipfeln
     Spürest du
     Kaum einen Hauch;
     Die Vögelein schweigen im Walde.
     Warte nur, balde
     Ruhest du auch.

Even if the same tune could be played on both these vocal instruments, the difference in their timbre would make the value of the melody entirely distinct in each case.

Syntactical form.

§ 43. The known impossibility of adequate translation appears here at the basis of language. The other diversities are superadded upon this diversity of sound. The syntax is the next source of effect. What could be better than Homer, or what worse than almost any translation of him? And this holds even of languages so closely allied as the Indo-European, which, after all, have certain correspondences of syntax and inflection. If there could be a language with other parts of speech than ours, — a language without nouns, for instance, — how would that grasp of experience, that picture of the world, which all our literature contains, be reproduced in it? Whatever beauties that language might be susceptible of, none of the effects produced on us, I will not say by poets, but even by nature itself, could be expressed in it.

Nor is such a language inconceivable. Instead of summarizing all our experiences of a thing by one word, its name, we should have to recall by appropriate adjectives the various sensations we had received from it; the objects we think of would be disintegrated, or, rather, would never have been unified. For "sun," they would say "high, yellow, dazzling, round, slowly moving," and the enumeration of these qualities (as we call them), without any suggestion of a unity at their source, might give a more vivid, and profound, if more cumbrous, representation of the facts. But how could the machinery of such an imagination be capable of repeating the effects of ours, when the objects to us most obvious and real would be to those minds utterly indescribable?

The same diversity appears in the languages we ordinarily know, only in a lesser degree. The presence or absence of case-endings in nouns and adjectives, their difference of gender, the richness of inflections in the verbs, the frequency of particles and conjunctions, — all these characteristics make one language differ from another entirely in genius and capacity of expression. Greek is probably the best of all languages in melody, richness, elasticity, and simplicity; so much so, that in spite of its complex inflections, when once a vocabulary is acquired, it is more easy and natural for a modern than his ancestral Latin itself. Latin is the stiffer tongue; it is by nature at once laconic and grandiloquent, and the exceptional condensation and transposition of which it is capable make its effects entirely foreign to a modern, scarcely inflected, tongue. Take, for instance, these lines of Horace:

          me tabula sacer
     votiva paries indicat uvida
     suspendisse potenti
     vestimenta maris deo,

or these of Lucretius:

     Jauaque caput quassans grandis suspirat arator
     Crebrius incassum magnum cecidisse laborem.

What conglomerate plebeian speech of our time could utter the stately grandeur of these Lucretian words, every one of which is noble, and wears the toga?

As a substitute for the inimitable interpenetration of the words in the Horatian strophe, we might have the external links of rhyme; and it seems, in fact, to be a justification of rhyme, that besides contributing something to melody and to the distribution of parts, it gives an artificial relationship to the phrases between which it obtains, which, but for it, would run away from one another in a rapid and irrevocable flux. In such a form as the sonnet, for instance, we have, by dint of assonance, a real unity forced upon the thought; for a sonnet in which the thought is not distributed appropriately to the structure of the verse, has no excuse for being a sonnet. By virtue of this interrelation of parts, the sonnet, the non plus ultra of rhyme, is the most classic of modern poetical forms: much more classic in spirit than blank verse, which lacks almost entirely the power of synthesizing the phrase, and making the unexpected seem the inevitable.

This beauty given to the ancients by the syntax of their language, the moderns can only attain by the combination of their rhymes. It is a bad substitute perhaps, but better than the total absence of form, favoured by the atomic character of our words, and the flat juxtaposition of our clauses. The art which was capable of making a gem of every prose sentence, — the art which, carried, perhaps, to, a pitch at which it became too conscious, made the phrases of Tacitus a series of cameos, — that art is inapplicable to our looser medium; we cannot give clay the finish and nicety of marble. Our poetry and speech in general, therefore, start out upon a lower level; the same effort will not, with this instrument, attain the same beauty. If equal beauty is ever attained, it comes from the wealth of suggestion, or the refinement of sentiment. The art of words remains hopelessly inferior. And what best proves this, is that when, as in our time, a reawakening of the love of beauty has prompted a refinement of our poetical language, we pass so soon into extravagance, obscurity, and affectation. Our modern languages are not susceptible of great formal beauty.

Literary form. The plot.

§ 44. The forms of composition in verse and prose which are practised in each language are further organizations of words, and have formal values. The most exacting of these forms and that which has been carried to the greatest perfection is the drama; but it belongs to rhetoric and poetics to investigate the nature of these effects, and we have here sufficiently indicated the principle which underlies them. The plot, which Aristotle makes, and very justly, the most important element in the effect of a drama, is the formal element of the drama as such: the ethos and sentiments are the expression, and the versification, music, and stage settings are the materials. It is in harmony with the romantic tendency of modern times that modern dramatists — Shakespeare as well as Molière, Calderon, and the rest — excel in ethos rather than in plot; for it is the evident characteristic of modern genius to