The ancient Greeks called the world {kosmos}, beauty. Such is the constitution of all things, or such the plastic power of the human eye, that the primary forms, as the sky, the mountain, the tree, the animal, give us a delight in and for themselves; a pleasure arising from outline, color, motion, and grouping. This seems partly owing to the eye itself. The eye is the best of artists. By the mutual1 action of its structure and of the laws of light, perspective is produced, which integrates every mass of objects, of what character soever, into a well colored and shaded globe, so that where the particular objects are mean and unaffecting, the landscape which they compose, is round and symmetrical. And as the eye is the best composer, so light is the first of painters. There is no object so foul2 that intense light will not make beautiful. And the stimulus3 it affords to the sense, and a sort of infinitude which it hath, like space and time, make all matter gay. Even the corpse4 has its own beauty. But besides this general grace diffused5 over nature, almost all the individual forms are agreeable to the eye, as is proved by our endless imitations of some of them, as the acorn6, the grape, the pine-cone, the wheat-ear, the egg, the wings and forms of most birds, the lion’s claw, the serpent, the butterfly, sea-shells, flames, clouds, buds, leaves, and the forms of many trees, as the palm.
For better consideration, we may distribute the aspects of Beauty in a threefold manner.
1. First, the simple perception of natural forms is a delight. The influence of the forms and actions in nature, is so needful to man, that, in its lowest functions, it seems to lie on the confines of commodity and beauty. To the body and mind which have been cramped7 by noxious8 work or company, nature is medicinal and restores their tone. The tradesman, the attorney comes out of the din9 and craft of the street, and sees the sky and the woods, and is a man again. In their eternal calm, he finds himself. The health of the eye seems to demand a horizon. We are never tired, so long as we can see far enough.
But in other hours, Nature satisfies by its loveliness, and without any mixture of corporeal10 benefit. I see the spectacle of morning from the hill-top over against my house, from day-break to sun-rise, with emotions which an angel might share. The long slender bars of cloud float like fishes in the sea of crimson11 light. From the earth, as a shore, I look out into that silent sea. I seem to partake its rapid transformations12: the active enchantment13 reaches my dust, and I dilate14 and conspire15 with the morning wind. How does Nature deify us with a few and cheap elements! Give me health and a day, and I will make the pomp of emperors ridiculous. The dawn is my Assyria; the sun-set and moon-rise my Paphos, and unimaginable realms of faerie; broad noon shall be my England of the senses and the understanding; the night shall be my Germany of mystic philosophy and dreams.
Not less excellent, except for our less susceptibility in the afternoon, was the charm, last evening, of a January sunset. The western clouds divided and subdivided16 themselves into pink flakes17 modulated18 with tints19 of unspeakable softness; and the air had so much life and sweetness, that it was a pain to come within doors. What was it that nature would say? Was there no meaning in the live repose20 of the valley behind the mill, and which Homer or Shakspeare could not reform for me in words? The leafless trees become spires21 of flame in the sunset, with the blue east for their back-ground, and the stars of the dead calices of flowers, and every withered22 stem and stubble rimed with frost, contribute something to the mute music.
The inhabitants of cities suppose that the country landscape is pleasant only half the year. I please myself with the graces of the winter scenery, and believe that we are as much touched by it as by the genial23 influences of summer. To the attentive24 eye, each moment of the year has its own beauty, and in the same field, it beholds25, every hour, a picture which was never seen before, and which shall never be seen again. The heavens change every moment, and reflect their glory or gloom on the plains beneath. The state of the crop in the surrounding farms alters the expression of the earth from week to week. The succession of native plants in the pastures and roadsides, which makes the silent clock by which time tells the summer hours, will make even the divisions of the day sensible to a keen observer. The tribes of birds and insects, like the plants punctual to their time, follow each other, and the year has room for all. By water-courses, the variety is greater. In July, the blue pontederia or pickerel-weed blooms in large beds in the shallow parts of our pleasant river, and swarms26 with yellow butterflies in continual motion. Art cannot rival this pomp of purple and gold. Indeed the river is a perpetual gala, and boasts each month a new ornament27.
But this beauty of Nature which is seen and felt as beauty, is the least part. The shows of day, the dewy morning, the rainbow, mountains, orchards28 in blossom, stars, moonlight, shadows in still water, and the like, if too eagerly hunted, become shows merely, and mock us with their unreality. Go out of the house to see the moon, and ‘t is mere29 tinsel; it will not please as when its light shines upon your necessary journey. The beauty that shimmers30 in the yellow afternoons of October, who ever could clutch it? Go forth31 to find it, and it is gone: ‘t is only a mirage32 as you look from the windows of diligence.
2. The presence of a higher, namely, of the spiritual element is essential to its perfection. The high and divine beauty which can be loved without effeminacy, is that which is found in combination with the human will. Beauty is the mark God sets upon virtue33. Every natural action is graceful34. Every heroic act is also decent, and causes the place and the bystanders to shine. We are taught by great actions that the universe is the property of every individual in it. Every rational creature has all nature for his dowry and estate. It is his, if he will. He may divest35 himself of it; he may creep into a corner, and abdicate36 his kingdom, as most men do, but he is entitled to the world by his constitution. In proportion to the energy of his thought and will, he takes up the world into himself. “All those things for which men plough, build, or sail, obey virtue;” said Sallust. “The winds and waves,” said Gibbon, “are always on the side of the ablest navigators.” So are the sun and moon and all the stars of heaven. When a noble act is done, — perchance in a scene of great natural beauty; when Leonidas and his three hundred martyrs37 consume one day in dying, and the sun and moon come each and look at them once in the steep defile38 of Thermopylae; when Arnold Winkelried, in the high Alps, under the shadow of the avalanche39, gathers in his side a sheaf of Austrian spears to break the line for his comrades; are not these heroes entitled to add the beauty of the scene to the beauty of the deed? When the bark of Columbus nears the shore of America; — before it, the beach lined with savages40, fleeing out of all their huts of cane41; the sea behind; and the purple mountains of the Indian Archipelago around, can we separate the man from the living picture? Does not the New World clothe his form with her palm-groves and savannahs as fit drapery? Ever does natural beauty steal in like air, and envelope great actions. When Sir Harry42 Vane was dragged up the Tower-hill, sitting on a sled, to suffer death, as the champion of the English laws, one of the multitude cried out to him, “You never sate43 on so glorious a seat.” Charles II., to intimidate44 the citizens of London, caused the patriot45 Lord Russel to be drawn46 in an open coach, through the principal streets of the city, on his way to the scaffold. “But,” his biographer says, “the multitude imagined they saw liberty and virtue sitting by his side.” In private places, among sordid47 objects, an act of truth or heroism48 seems at once to draw to itself the sky as its temple, the sun as its candle. Nature stretcheth out her arms to embrace man, only let his thoughts be of equal greatness. Willingly does she follow his steps with the rose and the violet, and bend her lines of grandeur49 and grace to the decoration of her darling child. Only let his thoughts be of equal scope, and the frame will suit the picture. A virtuous50 man is in unison51 with her works, and makes the central figure of the visible sphere. Homer, Pindar, Socrates, Phocion, associate themselves fitly in our memory with the geography and climate of Greece. The visible heavens and earth sympathize with Jesus. And in common life, whosoever has seen a person of powerful character and happy genius, will have remarked how easily he took all things along with him, — the persons, the opinions, and the day, and nature became ancillary52 to a man.
3. There is still another aspect under which the beauty of the world may be viewed, namely, as it become s an object of the intellect. Beside the relation of things to virtue, they have a relation to thought. The intellect searches out the absolute order of things as they stand in the mind of God, and without the colors of affection. The intellectual and the active powers seem to succeed each other, and the exclusive activity of the one, generates the exclusive activity of the other. There is something unfriendly in each to the other, but they are like the alternate periods of feeding and working in animals; each prepares and will be followed by the other. Therefore does beauty, which, in relation to actions, as we have seen, comes unsought, and comes because it is unsought, remain for the apprehension53 and pursuit of the intellect; and then again, in its turn, of the active power. Nothing divine dies. All good is eternally reproductive. The beauty of nature reforms itself in the mind, and not for barren contemplation, but for new creation.
All men are in some degree impressed by the face of the world; some men even to delight. This love of beauty is Taste. Others have the same love in such excess, that, not content with admiring, they seek to embody54 it in new forms. The creation of beauty is Art.
The production of a work of art throws a light upon the mystery of humanity. A work of art is an abstract or epitome55 of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single. Nature is a sea of forms radically56 alike and even unique. A leaf, a sun-beam, a landscape, the ocean, make an analogous57 impression on the mind. What is common to them all, — that perfectness and harmony, is beauty. The standard of beauty is the entire circuit of natural forms, — the totality of nature; which the Italians expressed by defining beauty “il piu nell’ uno.” Nothing is quite beautiful alone: nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor58, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates59 him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.
The world thus exists to the soul to satisfy the desire of beauty. This element I call an ultimate end. No reason can be asked or given why the soul seeks beauty. Beauty, in its largest and profoundest sense, is one expression for the universe. God is the all-fair. Truth, and goodness, and beauty, are but different faces of the same All. But beauty in nature is not ultimate. It is the herald60 of inward and eternal beauty, and is not alone a solid and satisfactory good. It must stand as a part, and not as yet the last or highest expression of the final cause of Nature.
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1
mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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foul
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| adj.污秽的；邪恶的；v.弄脏；妨害；犯规；n.犯规 | |
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stimulus
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| n.刺激，刺激物，促进因素，引起兴奋的事物 | |
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corpse
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| n.尸体，死尸 | |
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diffused
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| 散布的，普及的，扩散的 | |
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acorn
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| n.橡实，橡子 | |
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cramped
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| a.狭窄的 | |
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noxious
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| adj.有害的，有毒的；使道德败坏的，讨厌的 | |
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din
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| n.喧闹声，嘈杂声 | |
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corporeal
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| adj.肉体的，身体的；物质的 | |
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crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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transformations
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| n.变化( transformation的名词复数 )；转换；转换；变换 | |
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enchantment
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| n.迷惑，妖术，魅力 | |
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dilate
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| vt.使膨胀，使扩大 | |
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conspire
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| v.密谋，（事件等）巧合，共同导致 | |
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subdivided
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| 再分，细分( subdivide的过去式和过去分词 ) | |
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flakes
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| 小薄片( flake的名词复数 )； （尤指）碎片； 雪花； 古怪的人 | |
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modulated
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| 已调整[制]的，被调的 | |
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tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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repose
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| v.(使)休息；n.安息 | |
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spires
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| n.（教堂的） 塔尖，尖顶( spire的名词复数 ) | |
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withered
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| adj. 枯萎的，干瘪的，（人身体的部分器官）因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式 | |
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genial
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| adj.亲切的，和蔼的，愉快的，脾气好的 | |
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attentive
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| adj.注意的，专心的；关心(别人)的，殷勤的 | |
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beholds
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| v.看，注视( behold的第三人称单数 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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swarms
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| 蜂群，一大群( swarm的名词复数 ) | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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orchards
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| （通常指围起来的）果园( orchard的名词复数 ) | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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shimmers
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| n.闪闪发光，发微光( shimmer的名词复数 )v.闪闪发光，发微光( shimmer的第三人称单数 ) | |
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forth
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| adv.向前；向外，往外 | |
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mirage
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| n.海市蜃楼，幻景 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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divest
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| v.脱去，剥除 | |
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abdicate
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| v.让位，辞职，放弃 | |
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martyrs
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| n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情） | |
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defile
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| v.弄污，弄脏；n.(山间)小道 | |
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avalanche
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| n.雪崩，大量涌来 | |
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savages
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| 未开化的人，野蛮人( savage的名词复数 ) | |
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cane
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| n.手杖，细长的茎，藤条；v.以杖击，以藤编制的 | |
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harry
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| vt.掠夺，蹂躏，使苦恼 | |
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sate
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| v.使充分满足 | |
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intimidate
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| vt.恐吓，威胁 | |
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patriot
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| n.爱国者，爱国主义者 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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48
heroism
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| n.大无畏精神，英勇 | |
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49
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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unison
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| n.步调一致，行动一致 | |
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ancillary
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| adj.附属的，从属的 | |
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apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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54
embody
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| vt.具体表达，使具体化；包含，收录 | |
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epitome
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| n.典型，梗概 | |
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56
radically
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| ad.根本地，本质地 | |
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analogous
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| adj.相似的；类似的 | |
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sculptor
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| n.雕刻家，雕刻家 | |
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stimulates
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| v.刺激( stimulate的第三人称单数 )；激励；使兴奋；起兴奋作用，起刺激作用，起促进作用 | |
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herald
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| vt.预示...的来临，预告，宣布，欢迎 | |
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