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

them disembodied, and fancy they are peculiarly spiritual and intimate to the soul. Or we try to think that they flow by some logical necessity from the essences of objects simultaneously in our mind. We involve ourselves in endless perplexities in trying to deduce excellence and beauty, unity and necessity, from the describable qualities of things; we repeat the rationalistic fiction of turning the notions which we abstract from the observation of facts into the powers that give those facts character and being.

We have, for instance, in the presence of two images a sense of their incongruity; and we say that the character of the images causes this emotion; whereas in dreams we constantly have the most rapid transformations and patent contradictions without any sense of incongruity at all; because the brain is dozing and the necessary shock and mental inhibition is avoided. Add this stimulation, and the incongruity returns. Had such a shock never been felt, we should not know what incongruity meant; no more than without eyes we should know the meaning of blue or yellow.

In saying this, we are not really leaning upon physiological theory. The appeal to our knowledge of the brain facilitates the conception of the immediacy of our feelings of relation; but that immediacy would be apparent to a sharp introspection. We do not need to think of the eye or skin to feel that light and heat are ultimate data; no more do we need to think of cerebral excitements to see that right and left, before and after, good and bad, one and two, like and unlike, are irreducible feelings. The categories are senses without organs, or with organs unknown. Just as the discrimination of our feelings of colour and sound might never have been distinct and constant, had we not come upon the organs that seem to convey and control them; so perhaps our classification of our inner sensations will never be settled until their respective organs are discovered; for psychology has always been physiological, without knowing it. But this truth remains — quite apart from physical conceptions, not to speak of metaphysical materialism — that whatever the historical conditions of any state of mind may be said to be, it exists, when it does exist, immediately and absolutely; each of its distinguishable parts might conceivably have been absent from it; and its character, as well as its existence, is a mere datum of sense.

The pleasure that belongs to the consciousness of relations is therefore as immediate as any other; indeed, our emotional consciousness is always single, but we treat it as a resultant of many and even of conflicting feelings because we look at it historically with a view to comprehending it, and distribute it into as many factors as we find objects or causes to which to attribute it. The pleasure of association is an immediate feeling, which we account for by its relation to a feeling in the past, or to cerebral structure modified by a former experience; just as memory itself, which we explain by a reference to the past, is a peculiar complication of present consciousness.

Kinds of value in the second term.

§ 50. These reflections may make less surprising to us what is the most striking fact about the philosophy of expression; namely, that the value acquired by the expressive thing is often of an entirely different kind from that which the thing expressed possesses. The expression of physical pleasure, of passion, or even of pain, may constitute beauty and please the beholder. Thus the value of the second term may be physical, or practical, or even negative; and it may be transmuted, as it passes to the first term, into a value at once positive and aesthetic. The transformation of practical values into aesthetic has often been noted, and has even led to the theory that beauty is utility seen at arm's length; a premonition of pleasure and prosperity, much as smell is a premonition of taste. The transformation of negative values into positive has naturally attracted even more attention, and given rise to various theories of the comic, tragic, and sublime. For these three species of aesthetic good seem to please us by the suggestion of evil; and the problem arises how a mind can be made happier by having suggestions of unhappiness stirred within it; an unhappiness it cannot understand without in some degree sharing in it. We must now turn to the analysis of this question.

The expressiveness of a smile is not discovered exactly through association of images. The child smiles (without knowing it) when he feels pleasure; and the nurse smiles back; his own pleasure is associated with her conduct, and her smile is therefore expressive of pleasure. The fact of his pleasure at her smile is the ground of his instinctive belief in her pleasure in it. For this reason the circumstances expressive of happiness are not those that are favourable to it in reality, but those that are congruous with it in idea. The green of spring, the bloom of youth, the variability of childhood, the splendour of wealth and beauty, all these are symbols of happiness, not because they have been known to accompany it in fact, — for they do not, any more than their opposites, — but because they produce an image and echo of it in us aesthetically. We believe those things to be happy which it makes us happy to think of or to see; the belief in the blessedness of the supreme being itself has no other foundation. Our joy in the thought of omniscience makes us attribute joy to the possession of it, which it would in fact perhaps be very far from involving or even allowing.

The expressiveness of forms has a value as a sign of the life that actually inhabits those forms only when they resemble our own body; it is then probable that similar conditions of body involve, in them and in us, similar emotions; and we should not long continue to regard as the expression of pleasure an attitude that we know, by experience in our own person, to accompany pain. Children, indeed, may innocently torture animals, not having enough sense of analogy to be stopped by the painful suggestions of their writhings; and, although in a rough way we soon correct these crying misinterpretations by a better classification of experience, we nevertheless remain essentially subject to the same error. We cannot escape it, because the method which involves it is the only one that justifies belief in objective consciousness at all. Analogy of bodies helps us to distribute and classify the life we conceive about us; but what leads us to conceive it is the direct association of our own feeling with images of things, an association which precedes any clear representation of our own gestures and attitude. I know that smiles mean pleasure before I have caught myself smiling in the glass; they mean pleasure because they give it.

Since these aesthetic effects include some of the most moving and profound beauties, philosophers have not been slow to turn the unanalyzed paradox of their formation into a principle, and to explain by it the presence and necessity of evil. As in the tragic and the sublime, they have thought, the sufferings and dangers to which a hero is exposed seem to add to his virtue and dignity, and to our sacred joy in the contemplation of him, so the sundry evils of life may be elements in the transcendent glory of the whole. And once fired by this thought, those who pretend to justify the ways of God to man have, naturally, not stopped to consider whether so edifying a phenomenon was not a hasty illusion. They have, indeed, detested any attempt to explain it rationally, as tending to obscure one of the moral laws of the universe. In venturing, therefore, to repeat such an attempt, we should not be too sanguine of success; for we have to encounter not only the intrinsic difficulties of the problem, but also a wide-spread and arrogant metaphysical prejudice.

For the sake of greater clearness we may begin by classifying the values that can enter into expression; we shall then be better able to judge by what combinations of them various well-known effects and emotions are produced. The intrinsic value of the first term can be entirely neglected, since it does not contribute to expression. It does, however, contribute greatly to the beauty of the expressive object. The first term is the source of stimulation, and the acuteness and pleasantness of this determine to a great extent the character and sweep of the associations that will be aroused. Very often the pleasantness of the medium will counterbalance the disagreeableness of the import, and expressions, in themselves hideous or inappropriate, may be excused for the sake of the object that conveys them. A beautiful voice will redeem a vulgar song, a beautiful colour and texture an unmeaning composition. Beauty in the first term — beauty of sound, rhythm, and image — will make any thought whatever poetic, while no thought whatever can be so without that immediate beauty of presentation.[14]

Aesthetic value in the second term.

§ 51. That the noble associations of any object should embellish that object is very comprehensible. Homer furnishes us with a good illustration of the constant employment of this effect. The first term, one need hardly say, leaves with him little to be desired. The verse is beautiful. Sounds, images, and composition conspire to stimulate and delight. This immediate beauty is sometimes used to clothe things terrible and sad; there is no dearth of the tragic in Homer. But the tendency of his poetry is nevertheless to fill the outskirts of our consciousness with the trooping images of things no less fair and noble than the verse itself. The heroes are virtuous. There is none of importance who is not admirable in his way. The palaces, the arms, the horses, the sacrifices, are always excellent. The women are always stately and beautiful. The ancestry and the history of every one are honourable and good. The whole Homeric world is clean, clear, beautiful, and providential, and no small part of the perennial charm of the poet is that he thus immerses us in an atmosphere of beauty; a beauty not concentrated and reserved for some extraordinary sentiment, action, or person, but permeating the whole and colouring the common world of soldiers and sailors, war and craft, with a marvellous freshness and inward glow. There is nothing in the associations of life in this world or in another to contradict or disturb our delight. All is beautiful, and beautiful through and through.

Something of this quality meets us in all simple and idyllic compositions. There is, for instance, a popular demand that stories and comedies should "end well." The hero and heroine must be young and handsome; unless they die, — which is another matter, — they must not in the end be poor. The landscape in the play must be beautiful; the dresses pretty; the plot without serious mishap. A pervasive presentation of pleasure must give warmth and ideality to the whole. In the proprieties of social life we find the same principle; we study to make our surroundings, manner, and conversation suggest nothing but what is pleasing. We hide the ugly and disagreeable portion of our lives, and do not allow the least hint of it to come to light upon festive and public occasions. Whenever, in a word, a thoroughly pleasing effect is found, it is found by the expression, as well as presentation, of what is in itself pleasing — and when this effect is to be produced artificially, we attain it by the suppression of all expression that is not suggestive of something good.

If our consciousness were exclusively aesthetic, this kind of expression would be the only one allowed in art or prized in nature. We should avoid as