The Beautiful by Vernon Lee (ebook pdf reader for pc TXT) 📕

feeling of victory and illumination attendant on every successful intellectual effort. Or, in other words, seeing that painting and music employ sensory elements already selected as agreeable, we ought never to wish to see the same picture twice, or to continue looking at it; we ought never to wish to repeat the same piece of music or its separate phrases; still less to cherish that picture or piece of music in our memory, going over and over again as much of its shape as had become our permanent possession.

We return therefore to the fact that although balked perception is enough to make us reject a shape as ugly, i.e. such that we avoid entering into contemplation of it, easy perception is by no means sufficient to make us cherish a shape as beautiful, i.e. such that the reiteration of our drama of perception becomes desirable. And we shall have to examine whether there may not be some other factor of shape-perception wherewith to account for this preference of reiterated looking at the same to looking at something else.

Meanwhile we may add to our set of formulae: difficulty in shape-perception makes contemplation disagreeable and impossible, and hence earns for aspects the adjective ugly. But facility in perception, like agreeableness of sensation by no means suffices for satisfied contemplation, and hence for the use of the adjective Beautiful.

CHAPTER VIII

SUBJECT AND OBJECT

BUT before proceeding to this additional factor in shape-perception, namely that of Empathic Interpretation, I require to forestall an objection which my Reader has doubtless been making throughout my last chapters; more particularly that in clearing away the ground of this objection I shall be able to lay the foundations of my further edifice of explanation. The objection is this: if the man on the hill was aware of performing any, let alone all, of the various operations described as constituting shape-perception, neither that man nor any other human being would be able to enjoy the shapes thus perceived.

My answer is:

When did I say or imply that he was aware of doing any of it? It is not only possible, but extremely common, to perform processes without being aware of performing them. The man was not aware, for instance, of making eye adjustments and eye movements, unless indeed his sight was out of order. Yet his eye movements could have been cinematographed, and his eye adjustments have been described minutely in a dozen treatises. He was no more aware of doing any measuring or comparing than we are aware of doing our digestion or circulation, except when we do them badly. But just as we are aware of our digestive and circulatory processes in the sense of being aware of the animal spirits resulting from their adequate performance, so he was aware of his measuring and comparing, inasmuch as he was aware that the line A—B was longer than the line C—D, or that the point E was half an inch to the left of the point F. For so long as we are neither examining into ourselves, nor called upon to make a choice between two possible proceedings, nor forced to do or suffer something difficult or distressing, in fact so long as we are attending to whatever absorbs our attention and not to our processes of attending, those processes are replaced in our awareness by the very facts—for instance the proportions and relations of lines—resulting from their activity. That these results should not resemble their cause, that mental elements (as they are called) should appear and disappear, and also combine into unaccountable compounds (Browning's "not a third sound, but a star") according as we attend to them, is indeed the besetting difficulty of a science carried on by the very processes which it studies. But it is so because it is one of Psychology's basic facts. And, so far as we are at present concerned, this difference between mental processes and their results is the fact upon which psychological aesthetics are based. And it is not in order to convert the Man on the Hill to belief in his own acts of shape-perception, nor even to explain why he was not aware of them, that I am insisting upon this point. The principle I have been expounding, let us call it that of the merging of the perceptive activities of the subject in the qualities of the object of perception, explains another and quite as important mental process which was going on in that unsuspecting man.

But before proceeding to that I must make it clearer how that man stood in the matter of awareness of himself. He was, indeed, aware of himself whenever, during his contemplation of that landscape, the thought arose, "well, I must be going away, and perhaps I shan't see this place again"—or some infinitely abbreviated form, perhaps a mere sketched out gesture of turning away, accompanied by a slight feeling of clinging, he couldn't for the life of him say in what part of his body. He was at that moment acutely aware that he did not want to do something which it was optional to do. Or, if he acquiesced passively in the necessity of going away, aware that he wanted to come back, or at all events wanted to carry off as much as possible of what he had seen. In short he was aware of himself either making the effort of tearing himself away, or, if some other person or mere habit, saved him this effort, he was aware of himself making another effort to impress that landscape on his memory, and aware of a future self making an effort to return to it. I call it effort; you may, if you prefer, call it will; at all events the man was aware of himself as nominative of a verb to cling to, (in the future tense) return to, to choose as against some other alternative; as nominative of a verb briefly, to like or love. And the accusative of these verbs would be the landscape. But unless the man's contemplation was thus shot with similar ideas of some action or choice of his own, he would express the situation by saying "this landscape is awfully beautiful."

This IS. I want you to notice the formula, by which the landscape, ceasing to be the accusative of the man's looking and thinking, becomes the nominative of a verb to be so-and-so. That grammatical transformation is the sign of what I have designated, in philosophical language, as the merging of the activities of the subject in the object. It takes place already in the domain of simple sensation whenever, instead of saying "I taste or I smell something nice or nasty" we say—"this thing tastes or smells nice or nasty." And I have now shown you how this tendency to put the cart before the horse increases when we pass to the more complex and active processes called perception; turning "I measure this line"—"I compare these two angles" into "this line extends from A to B"—"these two angles are equal to two right angles."

But before getting to the final inversion—"this landscape is beautiful" instead of "I like this landscape"—there is yet another, and far more curious merging of the subject's activities in the qualities of the object. This further putting of the cart before the horse (and, you will see, attributing to the cart what only the horse can be doing!) falls under the head of what German psychologists call Einfühlung, or "Infeeling"—which Prof. Titchener has translated Empathy. Now this new, and comparatively newly discovered element in our perception of shape is the one to which, leaving out of account the pleasantness of mere colour and sound sensations as such, we probably owe the bulk of whatever satisfaction we connect with the word Beautiful. And I have already given the Reader an example of such Empathy when I described the landscape seen by the man on the hill as consisting of a skyline "dropping down merely to rush up again in rapid concave curves"; to which I might have added that there was also a plain which extended, a valley which wound along, paths which climbed and roads which followed the undulations of the land. But the best example was when I said that opposite to the man there was a distant mountain rising against the sky.

CHAPTER IX

EMPATHY

THE mountain rises. What do we mean when we employ this form of words? Some mountains, we are told, have originated in an upheaval. But even if this particular mountain did, we never saw it and geologists are still disputing about HOW and WHETHER. So the rising we are talking about is evidently not that probable or improbable upheaval. On the other hand all geologists tell us that every mountain is undergoing a steady lowering through its particles being weathered away and washed down; and our knowledge of landslips and avalanches shows us that the mountain, so far from rising, is descending. Of course we all know that, objects the Reader, and of course nobody imagines that the rock and the earth of the mountain is rising, or that the mountain is getting up or growing taller! All we mean is that the mountain looks as if it were rising.

The mountain looks! Surely here is a case of putting the cart before the horse. No; we cannot explain the mountain rising by the mountain looking, for the only looking in the business is our looking at the mountain. And if the Reader objects again that these are all figures of speech, I shall answer that Empathy is what explains why we employ figures of speech at all, and occasionally employ them, as in the case of this rising mountain, when we know perfectly well that the figure we have chosen expresses the exact reverse of the objective truth. Very well; then, (says the Reader) we will avoid all figures of speech and say merely: when we look at the mountain we somehow or other think of the action of rising. Is that sufficiently literal and indisputable?

So literal and indisputable a statement of the case, I answer, that it explains, when we come to examine it, why we have said that the mountain rises. For if the Reader remembers my chapter on shape-perception, he will have no difficulty in answering why we should have a thought of rising when we look at the mountain, since we cannot look at the mountain, nor at a tree, a tower or anything of which we similarly say that it rises, without lifting our glance, raising our eye and probably raising our head and neck, all of which raising and lifting unites into a general awareness of something rising. The rising of which we are aware is going on in us. But, as the Reader will remember also, when we are engrossed by something outside ourselves, as we are engrossed in looking at the shape (for we can look at only the shape, not the substance) of that mountain we cease thinking about ourselves, and cease thinking about ourselves exactly in proportion as we are thinking of the mountain's shape. What becomes therefore of our awareness of raising or lifting or rising? What can become of it (so long as it continues to be there!) except that it coalesces with the shape we are looking at; in short that the rising continuing to be thought, but no longer to be thought of with reference to ourselves (since we aren't thinking of ourselves), is thought of in reference to what we are thinking about, namely the mountain, or rather the mountain's shape, which is, so to speak, responsible for any thought of rising, since it obliges us to lift, raise or rise ourselves in order to take stock of it. It is a case exactly analogous to our transferring the measuring done by our eye to the line of which we say that it extends from A to B, when in reality the