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

loses its power of idealization and hope. By a pathetic and superstitious self-depreciation, we then punish ourselves for the imperfection of nature. Awed by the magnitude of a reality that we can no longer conceive as free from evil, we try to assert that its evil also is a good; and we poison the very essence of the good to make its extension universal. We confuse the causal connexion of those things in nature which we call good or evil by an adventitious denomination with the logical opposition between good and evil themselves; because one generation makes room for another, we say death is necessary to life; and because the causes of sorrow and joy are so mingled in this world, we cannot conceive how, in a better world, they might be disentangled.

This incapacity of the imagination to reconstruct the conditions of life and build the frame of things nearer to the heart's desire is dangerous to a steady loyalty to what is noble and fine. We surrender ourselves to a kind of miscellaneous appreciation, without standard or goal; and calling every vexatious apparition by the name of beauty, we become incapable of discriminating its excellence or feeling its value. We need to clarify our ideals, and enliven our vision of perfection. No atheism is so terrible as the absence of an ultimate ideal, nor could any failure of power be more contrary to human nature than the failure of moral imagination, or more incompatible with healthy life. For we have faculties, and habits, and impulses. These are the basis of our demands. And these demands, although variable, constitute an ever-present intrinsic standard of value by which we feel and judge. The ideal is immanent in them; for the ideal means that environment in which our faculties would find their freest employment, and their most congenial world. Perfection would be nothing but life under those conditions. Accordingly our consciousness of the ideal becomes distinct in proportion as we advance in virtue and in proportion to the vigour and definiteness with which our faculties work. When the vital harmony is complete, when the act is pure, faith in perfection passes into vision. That man is unhappy indeed, who in all his life has had no glimpse of perfection, who in the ecstasy of love, or in the delight of contemplation, has never been able to say: It is attained. Such moments of inspiration are the source of the arts, which have no higher function than to renew them.

A work of art is indeed a monument to such a moment, the memorial to such a vision; and its charm varies with its power of recalling us from the distractions of common life to the joy of a more natural and perfect activity.

The stability of the ideal.

§ 66. The perfection thus revealed is relative to our nature and faculties; if it were not, it could have no value for us. It is revealed to us in brief moments, but it is not for that reason an unstable or fantastic thing. Human attention inevitably flickers; we survey things in succession, and our acts of synthesis and our realization of fact are only occasional. This is the tenure of all our possessions; we are not uninterruptedly conscious of ourselves, our physical environment, our ruling passions, or our deepest conviction. What wonder, then, that we are not constantly conscious of that perfection which is the implicit ideal of all our preferences and desires? We view it only in parts, as passion or perception successively directs our attention to its various elements. Some of us never try to conceive it in its totality. Yet our whole life is an act of worship to this unknown divinity; every heartfelt prayer is offered before one or another of its images.

This ideal of perfection varies, indeed, but only with the variations of our nature of which it is the counterpart and entelechy. There is perhaps no more frivolous notion than that to which Schopenhauer has given a new currency, that a good, once attained, loses all its value. The instability of our attention, the need of rest and repair in our organs, makes a round of objects necessary to our minds; but we turn from a beautiful thing, as from a truth or a friend, only to return incessantly, and with increasing appreciation. Nor do we lose all the benefit of our achievements in the intervals between our vivid realizations of what we have gained. The tone of the mind is permanently raised; and we live with that general sense of steadfastness and resource which is perhaps the kernel of happiness. Knowledge, affection, religion, and beauty are not less constant influences in a man's life because his consciousness of them is intermittent. Even when absent, they fill the chambers of the mind with a kind of fragrance. They have a continual efficacy, as well as a perennial worth.

There are, indeed, other objects of desire that if attained leave nothing but restlessness and dissatisfaction behind them. These are the objects pursued by fools. That such objects ever attract us is a proof of the disorganization of our nature, which drives us in contrary directions and is at war with itself. If we had attained anything like steadiness of thought or fixity of character, if we knew ourselves, we should know also our inalienable satisfactions. To say that all goods become worthless in possession is either a piece of superficial satire that intentionally denies the normal in order to make the abnormal seem more shocking, or else it is a confession of frivolity, a confession that, as an idiot never learns to distinguish reality amid the phantasms of his brain, so we have never learned to distinguish true goods amid our extravagances of whim and passion. That true goods exist is nevertheless a fact of moral experience. "A thing of beauty is a joy for ever"; a great affection, a clear thought, a profound and well-tried faith, are eternal possessions. And this is not merely a fact, to be asserted upon the authority of those who know it by experience. It is a psychological necessity. While we retain the same senses, we must get the same impressions from the same objects; while we keep our instincts and passions, we must pursue the same goods; while we hare the same powers of imagination, we must experience the same delight in their exercise. Age brings about, of course, variation in all these particulars, and the susceptibility of two individuals is never exactly similar. But the eventual decay of our personal energies does not destroy the natural value of objects, so long as the same will embodies itself in other minds, and human nature subsists in the world. The sun is not now unreal because each one of us in succession, and all of us in the end, must close our eyes upon it; and yet the sun exists for us only because we perceive it. The ideal has the same conditions of being, but has this advantage over the sun, that we cannot know if its light is ever destined to fail us.

There is then a broad foundation of identity in our nature, by virtue of which we live in a common world, and have an art and a religion in common. That the ideal should be constant within these limits is as inevitable as that it should vary beyond them. And so long as we exist and recognize ourselves individually as persons or collectively as human, we must recognize also our immanent ideal, the realization of which would constitute perfection for us. That ideal cannot be destroyed except in proportion as we ourselves perish. An absolute perfection, independent of human nature and its variations, may interest the metaphysician; but the artist and the man will be satisfied with a perfection that is inseparable from the consciousness of mankind, since it is at once the natural vision of the imagination, and the rational goal of the will.

Conclusion.

§ 67. We have now studied the sense of beauty in what seem to be its fundamental manifestations, and in some of the more striking complications which it undergoes. In surveying so broad a field we stand in need of some classification and subdivision; and we have chosen the familiar one of matter, form, and expression, as least likely to lead us into needless artificiality. But artificiality there must always be in the discursive description of anything given in consciousness. Psychology attempts what is perhaps impossible, namely, the anatomy of life. Mind is a fluid; the lights and shadows that flicker through it have no real boundaries, and no possibility of permanence. Our whole classification of mental facts is borrowed from the physical conditions or expressions of them. The very senses are distinguished because of the readiness with which we can isolate their outer organs. Ideas can be identified only by identifying their objects. Feelings are recognized by their outer expression, and when we try to recall an emotion, we must do so by recalling the circumstances in which it occurred.

In distinguishing, then, in our sense of beauty, an appreciation of sensible material, one of abstract form, and another of associated values, we have been merely following the established method of psychology, the only one by which it is possible to analyze the mind. We have distinguished the elements of the object, and treated the feeling as if it were composed of corresponding parts. The worlds of nature and fancy, which are the object of aesthetic feeling, can be divided into parts in space and time.  We can then distinguish the material of things from the various forms it may successively assume; we can distinguish, also, the earlier and the later impressions made by the same object; and we can ascertain the coexistence of one impression with another, or with the memory of others. But aesthetic feeling itself has no parts, and this physiology of its causes is not a description of its proper nature.

Beauty as we feel it is something indescribable: what it is or what it means can never be said.  By appealing to experiment and memory we can show that this feeling varies as certain things vary in the objective conditions; that it varies with the frequency, for instance, with which a form has been presented, or with the associates which that form has had in the past. This will justify a description of the feeling as composed of the various contributions of these objects. But the feeling itself knows nothing of composition nor contributions. It is an affection of the soul, a consciousness of joy and security, a pang, a dream, a pure pleasure. It suffuses an object without telling why; nor has it any need to ask the question. It justifies itself and the vision it gilds; nor is there any meaning in seeking for a cause of it, in this inward sense. Beauty exists for the same reason that the object which is beautiful exists, or the world in which that object lies, or we that look upon both. It is an experience: there is nothing more to say about it.  Indeed, if we look at things teleologically, and as they ultimately justify themselves to the heart, beauty is of all things what least calls for explanation. For matter and space and time and principles of reason and of evolution, all are ultimately brute, unaccountable data. We may describe what actually is, but it might have been otherwise, and the mystery of its being is as baffling and dark as ever.

But we, — the minds that ask all questions and judge of the validity of all answers, — we are not ourselves independent of this world in which we live. We sprang from it, and our relations in it determine all our instincts and satisfactions. This final questioning and sense of mystery is an unsatisfied craving which nature has her way of stilling. Now we only ask for