The taste, the sense by which we distinguish the flavor of our food, has produced, in all known languages, the metaphor1 expressed by the word “taste”— a feeling of beauty and defects in all the arts. It is a quick perception, like that of the tongue and the palate, and in the same manner anticipates consideration. Like the mere2 sense, it is sensitive and luxuriant in respect to the good, and rejects the bad spontaneously; in a similar way it is often uncertain, divided, and even ignorant whether it ought to be pleased; lastly, and to conclude the resemblance, it sometimes requires to be formed and corrected by habit and experience.
To constitute taste, it is not sufficient to see and to know the beauty of a work. We must feel and be affected3 by it. Neither will it suffice to feel and be affected in a confused or ignorant manner; it is necessary to distinguish the different shades; nothing ought to escape the promptitude of its discernment; and this is another instance of the resemblance of taste, the sense, to intellectual taste; for an epicure4 will quickly feel and detect a mixture of two liquors, as the man of taste and connoisseur5 will, with a single glance, distinguish the mixture of two styles, or a defect by the side of a beauty. He will be enthusiastically moved with this verse in the Horatii:
Que voulez-vous qu’il f?t contre trois? — Qu’il mour?t!
What have him do ’gainst three? — Die!
He feels involuntary disgust at the following:
Ou qu’un beau désespoir alors le secour?t.
— Act iii, sc. 6.
Or, whether aided by a fine despair.
As a physical bad taste consists in being pleased only with high seasoning6 and curious dishes, so a bad taste in the arts is pleased only with studied ornament7, and feels not the pure beauty of nature.
A depraved taste in food is gratified with that which disgusts other people: it is a species of disease. A depraved taste in the arts is to be pleased with subjects which disgust accomplished8 minds, and to prefer the burlesque9 to the noble, and the finical and the affected to the simple and natural: it is a mental disease. A taste for the arts is, however, much more a thing of formation than physical taste; for although in the latter we sometimes finish by liking10 those things to which we had in the first instance a repugnance11, nature seldom renders it necessary for men in general to learn what is necessary to them in the way of food, whereas intellectual taste requires time to duly form it. A sensible young man may not, without science, distinguish at once the different parts of a grand choir12 of music; in a fine picture, his eyes at first sight may not perceive the gradation, the chiaroscuro13 perspective, agreement of colors, and correctness of design; but by little and little his ears will learn to hear and his eyes to see. He will be affected at the first representation of a fine tragedy, but he will not perceive the merit of the unities14, nor the delicate management that allows no one to enter or depart without a sufficient reason, nor that still greater art which concentrates all the interest in a single one; nor, lastly, will he be aware of the difficulties overcome. It is only by habit and reflection, that he arrives spontaneously at that which he was not able to distinguish in the first instance. In a similar way, a national taste is gradually formed where it existed not before, because by degrees the spirit of the best artists is duly imbibed15. We accustom16 ourselves to look at pictures with the eyes of Lebrun, Poussin, and Le Sueur. We listen to musical declamation17 from the scenes of Quinalt with the ears of Lulli, and to the airs and accompaniments with those of Rameau. Finally, books are read in the spirit of the best authors.
If an entire nation is led, during its early culture of the arts, to admire authors abounding18 in the defects and errors of the age, it is because these authors possess beauties which are admired by everybody, while at the same time readers are not sufficiently19 instructed to detect the imperfections. Thus, Lucilius was prized by the Romans, until Horace made them forget him; and Regnier was admired by the French, until the appearance of Boileau; and if old authors who stumble at every step have, notwithstanding, attained20 great reputation, it is because purer writers have not arisen to open the eyes of their national admirers, as Horace did those of the Romans, and Boileau those of the French.
It is said that there is no disputation on taste, and the observation is correct in respect to physical taste, in which the repugnance felt to certain aliments, and the preference given to others, are not to be disputed, because there is no correction of a defect of the organs. It is not the same with the arts which possess actual beauties, which are discernible by a good taste, and unperceivable by a bad one; which last, however, may frequently be improved. There are also persons with a coldness of soul, as there are defective21 minds; and in respect to them, it is of little use to dispute concerning predilections22, as they possess none.
Taste is arbitrary in many things, as in raiment, decoration, and equipage, which, however, scarcely belong to the department of the fine arts, but are rather affairs of fancy. It is fancy rather than taste which produces so many new fashions.
Taste may become vitiated in a nation, a misfortune which usually follows a period of perfection. Fearing to be called imitators, artists seek new and devious23 routes, and fly from the pure and beautiful nature of which their predecessors24 have made so much advantage. If there is merit in these labors25, this merit veils their defects, and the public in love with novelty runs after them, and becomes disgusted, which makes way for still minor27 efforts to please, in which nature is still more abandoned. Taste loses itself amidst this succession of novelties, the last one of which rapidly effaces28 the other; the public loses its “whereabout,” and regrets in vain the flight of the age of good taste, which will return no more, although a remnant of it is still preserved by certain correct spirits, at a distance from the crowd.
There are vast countries in which taste has never existed: such are they in which society is still rude, where the sexes have little general intercourse29, and where certain arts, like sculpture and the painting of animated30 beings, are forbidden by religion. Where there is little general intercourse, the mind is straitened, its edge is blunted, and nothing is possessed31 on which a taste can be formed. Where several of the fine arts are wanting, the remainder can seldom find sufficient support, as they go hand in hand, and rest one on the other. On this account, the Asiatics have never produced fine arts in any department, and taste is confined to certain nations of Europe.
§ II.
Is there not a good and a bad taste? Without doubt; although men differ in opinions, manners, and customs. The best taste in every species of cultivation32 is to imitate nature with the highest fidelity33, energy, and grace. But is not grace arbitrary? No, since it consists in giving animation34 and sweetness to the objects represented. Between two men, the one of whom is gross and the other refined, it will readily be allowed that one possesses more grace than the other.
Before a polished period arose, Voiture, who in his rage for embroidering35 nothings, was occasionally refined and agreeable, wrote some verses to the great Condé upon his illness, which are still regarded as very tasteful, and among the best of this author.
At the same time, L’étoile, who passed for a genius — L’étoile, one of the five authors who constructed tragedies for Cardinal36 Richelieu — made some verses, which are printed at the end of Malherbe and Racan. When compared with those of Voiture referred to, every reader will allow that the verses of Voiture are the production of a courtier of good taste, and those of L’étoile the labor26 of a coarse and unintellectual pretender.
It is a pity that we can gift Voiture with occasional taste only: his famous letter from the carp to the pike, which enjoyed so much reputation, is a too extended pleasantry, and in passages exhibiting very little nature. Is it not a mixture of refinement37 and coarseness, of the true and the false? Was it right to say to the great Condé, who was called “the pike” by a party among the courtiers, that at his name the whales of the North perspired38 profusely39, and that the subjects of the emperor had expected to fry and to eat him with a grain of salt? Was it proper to write so many letters, only to show a little of the wit which consists in puns and conceits41?
Are we not disgusted when Voiture says to the great Condé, on the taking of Dunkirk: “I expect you to seize the moon with your teeth.” Voiture apparently42 acquired this false taste from Marini, who came into France with Mary of Medici. Voiture and Costar frequently cite him as a model in their letters. They admire his description of the rose, daughter of April, virgin43 and queen, seated on a thorny44 throne, extending majestically45 a flowery sceptre, having for courtiers and ministers the amorous46 family of the zephyrs47, and wearing a crown of gold and a robe of scarlet48:
Bella figlia d’Aprile,
Verginella e reina,
Sic lo spinoso trono
Del verde cespo assisa,
De’ fior’ lo scettro in maestà sostiene;
E corteggiata intorno
Da lascivia famiglia
Di Zefiri ministri,
Porta d’or’ la corona49 et d’ostro il manto.
Voiture, in his thirty-fifth letter to Costar, compliments the musical atom of Marini, the feathered voice, the living breath clothed in plumage, the winged song, the small spirit of harmony, hidden amidst diminutive50 lungs; all of which terms are employed to convey the word nightingale:
Una voce pennuta, un suon’ volante,
E vestito di penne, un vivo fiato,
Una piuma canora, un canto51 alato,
Un spiritel’ che d’armonia composto
Vive in auguste viscere nascosto.
The bad taste of Balzac was of a different description; he composed familiar letters in a fustian52 style. He wrote to the Cardinal de la Valette, that neither in the deserts of Libya, nor in the abyss of the sea, there was so furious a monster as the sciatica; and that if tyrants53, whose memory is odious54 to us, had instruments of cruelty in their possession equal to the sciatica, the martyrs55 would have endured them for their religion.
These emphatic56 exaggerations — these long and stately periods, so opposed to the epistolary style — these fastidious declamations, garnished57 with Greek and Latin, concerning two middling sonnets58, the merits of which divided the court and the town, and upon the miserable59 tragedy of “Herod the Infanticide,”— all indicate a time and a taste which were yet to be formed and corrected. Even “Cinna,” and the “Provincial60 Letters,” which astonished the nations, had not yet cleared away the rust61.
As an artist forms his taste by degrees, so does a nation. It stagnates62 for a long time in barbarism; then it elevates itself feebly, until at length a noon appears, after which we witness nothing but a long and melancholy63 twilight64. It has long been agreed, that in spite of the solicitude65 of Francis I., to produce a taste in France for the fine arts, this taste was not formed until towards the age of Louis XIV., and we already begin to complain of its degeneracy. The Greeks of the lower empire confess, that the taste which reigned66 in the days of Pericles was lost among them, and the modern Greeks admit the same thing. Quintilian allows that the taste of the Romans began to decline in his days.
Lope de Vega made great complaints of the bad taste of the Spaniards. The Italians perceived, among the first, that everything had declined among them since their immortal67 sixteenth century, and that they have witnessed the decline of the arts, which they caused to spring up.
Addison often attacks the bad taste of the English in more than one department — as well when he ridicules69 the carved wig70 of Sir Cloudesley Shovel71, as when he testifies his contempt for a serious employment of conceit40 and pun, or the introduction of mountebanks in tragedy.
If, therefore, the most gifted minds allow that taste has been wanting at certain periods in their country, their neighbors may certainly feel it, as lookers-on; and as it is evident among ourselves that one man has a good and another a bad taste, it is equally evident that of two contemporary nations, the one may be rude and gross, and the other refined and natural.
The misfortune is, that when we speak this truth, we disgust the whole nation to which we allude72, as we provoke an individual of bad taste when we seek to improve him. It is better to wait until time and example instruct a nation which sins against taste. It is in this way that the Spaniards are beginning to reform their drama, and the Germans to create one.
Of National Taste.
There is beauty of all times and of all places, and there is likewise local beauty. Eloquence73 ought to be everywhere persuasive74, grief affecting, anger impetuous, wisdom tranquil75; but the details which may gratify a citizen of London, would have little effect on an inhabitant of Paris. The English drew some of their most happy metaphors76 and comparisons from the marine77, while Parisians seldom see anything of ships. All which affects an Englishman in relation to liberty, his rights and his privileges, would make little impression on a Frenchman.
The state of the climate will introduce into a cold and humid country a taste for architecture, furniture, and clothing, which may be very good, but not admissible at Rome or in Sicily. Theocritus and Virgil, in their eclogues, boast of the shades and of the cooling freshness of the fountains. Thomson, in his “Seasons,” dwells upon contrary attractions.
An enlightened nation with little sociability78 will not have the same points of ridicule68 as a nation equally intellectual, which gives in to the spirit of society even to indiscretion; and, in consequence, these two nations will differ materially in their comedy. Poetry will be very different in a country where women are secluded79, and in another in which they enjoy liberty without bounds.
But it will always be true that the pastoral painting of Virgil exceeds that of Thomson, and that there has been more taste on the banks of the Tiber than on those of the Thames; that the natural scenes of the Pastor80 Fido are incomparably superior to the shepherdizing of Racan; and that Racine and Molière are inspired persons in comparison with the dramatists of other theatres.
On the Taste of Connoisseurs81.
In general, a refined and certain taste consists in a quick feeling of beauty amidst defects, and defects amidst beauties. The epicure is he who can discern the adulteration of wines, and feel the predominating flavor in his viands82, of which his associates entertain only a confused and general perception.
Are not those deceived who say, that it is a misfortune to possess too refined a taste, and to be too much of a connoisseur; that in consequence we become too much occupied by defects, and insensible to beauties, which are lost by this fastidiousness? Is it not, on the contrary, certain that men of taste alone enjoy true pleasure, who see, hear, and feel, that which escapes persons less sensitively organized, and less mentally disciplined?
The connoisseur in music, in painting, in architecture, in poetry, in medals, etc., experiences sensations of which the vulgar have no comprehension; the discovery even of a fault pleases him, and makes him feel the beauties with more animation. It is the advantage of a good sight over a bad one. The man of taste has other eyes, other ears, and another tact83 from the uncultivated man; he is displeased84 with the poor draperies of Raphael, but he admires the noble purity of his conception. He takes a pleasure in discovering that the children of Laocoon bear no proportion to the height of their father, but the whole group makes him tremble, while other spectators are unmoved.
The celebrated85 sculptor86, man of letters and of genius, who placed the colossal87 statue of Peter the Great at St. Petersburg, criticises with reason the attitude of the Moses of Michelangelo, and his small, tight vest, which is not even an Oriental costume; but, at the same time, he contemplates88 the air and expression of the head with ecstasy89.
Rarity of Men of Taste.
It is afflicting90 to reflect on the prodigious91 number of men — above all, in cold and damp climates — who possess not the least spark of taste, who care not for the fine arts, who never read, and of whom a large portion read only a journal once a month, in order to be put in possession of current matter, and to furnish themselves with the ability of saying things at random92, on subjects in regard to which they have only confused ideas.
Enter into a small provincial town: how rarely will you find more than one or two good libraries, and those private. Even in the capital of the provinces which possess academies, taste is very rare.
It is necessary to select the capital of a great kingdom to form the abode93 of taste, and yet even there it is very partially94 divided among a small number, the populace being wholly excluded. It is unknown to the families of traders, and those who are occupied in making fortunes, who are either engrossed95 with domestic details, or divided between unintellectual idleness and a game at cards. Every place which contains the courts of law, the offices of revenue, government, and commerce, is closed against the fine arts. It is the reproach of the human mind that a taste for the common and ordinary introduces only opulent idleness. I knew a commissioner96 in one of the offices at Versailles, who exclaimed: “I am very unhappy; I have not time to acquire a taste.”
In a town like Paris, peopled with more than six hundred thousand persons, I do not think there are three thousand who cultivate a taste for the fine arts. When a dramatic masterpiece is represented, a circumstance so very rare, people exclaim: “All Paris is enchanted,” but only three thousand copies, more or less, are printed.
Taste, then, like philosophy, belongs only to a small number of privileged souls. It was, therefore, great happiness for France to possess, in Louis XIV., a king born with taste.
Pauci, quos ?quus amavit
Jupiter, aut ardens, evexit ad ?thera virtus
Dis geniti, potuere.
— ?neid, b. vi, v. 129 and s.
To few great Jupiter imparts his grace,
And those of shining worth and heavenly race.
— Dryden.
Ovid has said in vain, that God has created us to look up to heaven: “Erectos ad sidera tollere vultus.” Men are always crouching97 on the ground. Why has a misshapen statue, or a bad picture, where the figures are disproportionate, never passed for a masterpiece? Why has an ill-built house never been regarded as a fine monument of architecture? Why in music will not sharp and discordant98 sounds please the ears of any one? And yet, very bad and barbarous tragedies, written in a style perfectly99 Allobrogian, have succeeded, even after the sublime100 scenes of Corneille, the affecting ones of Racine, and the fine pieces written since the latter poet. It is only at the theatre that we sometimes see detestable compositions succeed both in tragedy and comedy.
What is the reason of it? It is, that a species of delusion101 prevails at the theatre; it is, that the success depends upon two or three actors, and sometimes even upon a single one; and, above all, that a cabal102 is formed in favor of such pieces, whilst men of taste never form any. This cabal often lasts for an entire generation, and it is so much the more active, as its object is less to elevate the bad author than to depress the good one. A century possibly is necessary to adjust the real value of things in the drama.
There are three kinds of taste, which in the long run prevail in the empire of the arts. Poussin was obliged to quit France and leave the field to an inferior painter; Le Moine killed himself in despair; and Vanloo was near quitting the kingdom, to exercise his talents elsewhere. Connoisseurs alone have put all of them in possession of the rank belonging to them. We often witness all kinds of bad works meet with prodigious success. The solecisms, barbarisms, false statement, and extravagant103 bombast104, are not felt for awhile, because the cabal and the senseless enthusiasm of the vulgar produce an intoxication105 which discriminates106 in nothing. The connoisseurs alone bring back the public in due time; and it is the only difference which exists between the most enlightened and the most cultivated of nations; for the vulgar of Paris are in no respect beyond the vulgar of other countries; but in Paris there is a sufficient number of correct opinions to lead the crowd. This crowd is rapidly excited in popular movements, but many years are necessary to establish in it a general good taste in the arts.
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metaphor
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| n.隐喻，暗喻 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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affected
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| adj.不自然的，假装的 | |
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epicure
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| n.行家，美食家 | |
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connoisseur
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| n.鉴赏家，行家，内行 | |
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seasoning
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| n.调味；调味料；增添趣味之物 | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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burlesque
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| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
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liking
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| n.爱好；嗜好；喜欢 | |
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repugnance
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| n.嫌恶 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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chiaroscuro
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| n.明暗对照法 | |
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unities
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| n.统一体( unity的名词复数 )；（艺术等） 完整；（文学、戏剧） （情节、时间和地点的）统一性；团结一致 | |
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imbibed
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| v.吸收( imbibe的过去式和过去分词 )；喝；吸取；吸气 | |
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accustom
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| vt.使适应，使习惯 | |
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declamation
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| n. 雄辩，高调 | |
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abounding
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| adj.丰富的，大量的v.大量存在，充满，富于( abound的现在分词 ) | |
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sufficiently
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| adv.足够地，充分地 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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defective
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| adj.有毛病的，有问题的，有瑕疵的 | |
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predilections
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| n.偏爱，偏好，嗜好( predilection的名词复数 ) | |
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devious
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| adj.不坦率的，狡猾的；迂回的，曲折的 | |
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predecessors
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| n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身 | |
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labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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effaces
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| v.擦掉( efface的第三人称单数 )；抹去；超越；使黯然失色 | |
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intercourse
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| n.性交；交流，交往，交际 | |
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animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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cultivation
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| n.耕作，培养，栽培（法），养成 | |
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fidelity
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| n.忠诚，忠实；精确 | |
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animation
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| n.活泼，兴奋，卡通片／动画片的制作 | |
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embroidering
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| v.（在织物上）绣花( embroider的现在分词 )；刺绣；对…加以渲染（或修饰）；给…添枝加叶 | |
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cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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perspired
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| v.出汗，流汗( perspire的过去式和过去分词 ) | |
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profusely
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conceit
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| n.自负，自高自大 | |
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conceits
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| 高傲( conceit的名词复数 )； 自以为； 巧妙的词语； 别出心裁的比喻 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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thorny
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| adj.多刺的，棘手的 | |
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majestically
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| 雄伟地； 庄重地； 威严地； 崇高地 | |
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amorous
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| adj.多情的；有关爱情的 | |
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zephyrs
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| n.和风，微风( zephyr的名词复数 ) | |
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scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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corona
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| n.日冕 | |
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diminutive
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| adj.小巧可爱的，小的 | |
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canto
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| n.长篇诗的章 | |
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fustian
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| n.浮夸的；厚粗棉布 | |
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tyrants
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| 专制统治者( tyrant的名词复数 )； 暴君似的人； （古希腊的）僭主； 严酷的事物 | |
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odious
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| adj.可憎的，讨厌的 | |
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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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emphatic
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| adj.强调的，着重的；无可置疑的，明显的 | |
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garnished
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| v.给（上餐桌的食物）加装饰( garnish的过去式和过去分词 ) | |
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sonnets
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| n.十四行诗( sonnet的名词复数 ) | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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provincial
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| adj.省的，地方的；n．外省人，乡下人 | |
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rust
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| n.锈；v.生锈；(脑子)衰退 | |
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stagnates
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| v.停滞，不流动，不发展( stagnate的第三人称单数 ) | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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solicitude
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| n.焦虑 | |
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reigned
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| vi.当政，统治（reign的过去式形式） | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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ridicule
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| v.讥讽，挖苦；n.嘲弄 | |
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ridicules
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| n.嘲笑( ridicule的名词复数 )；奚落；嘲弄；戏弄v.嘲笑，嘲弄，奚落( ridicule的第三人称单数 ) | |
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wig
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| n.假发 | |
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shovel
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| n.铁锨，铲子，一铲之量；v.铲，铲出 | |
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allude
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| v.提及，暗指 | |
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eloquence
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| n.雄辩；口才，修辞 | |
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persuasive
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| adj.有说服力的，能说得使人相信的 | |
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tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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metaphors
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| 隐喻( metaphor的名词复数 ) | |
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marine
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| adj.海的；海生的；航海的；海事的；n.水兵 | |
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sociability
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| n.好交际，社交性，善于交际 | |
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secluded
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| adj.与世隔绝的；隐退的；偏僻的v.使隔开，使隐退( seclude的过去式和过去分词) | |
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pastor
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| n.牧师，牧人 | |
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connoisseurs
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| n.鉴赏家，鉴定家，行家( connoisseur的名词复数 ) | |
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viands
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| n.食品，食物 | |
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tact
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| n.机敏，圆滑，得体 | |
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displeased
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| a.不快的 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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sculptor
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| n.雕刻家，雕刻家 | |
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colossal
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| adj.异常的，庞大的 | |
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contemplates
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| 深思，细想，仔细考虑( contemplate的第三人称单数 )； 注视，凝视； 考虑接受（发生某事的可能性）； 深思熟虑，沉思，苦思冥想 | |
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ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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afflicting
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| 痛苦的 | |
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prodigious
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| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
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random
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| adj.随机的；任意的；n.偶然的(或随便的)行动 | |
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abode
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| n.住处，住所 | |
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partially
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| adv.部分地，从某些方面讲 | |
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engrossed
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| adj.全神贯注的 | |
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commissioner
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| n.（政府厅、局、处等部门）专员，长官，委员 | |
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crouching
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| v.屈膝，蹲伏( crouch的现在分词 ) | |
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discordant
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| adj.不调和的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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delusion
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| n.谬见，欺骗，幻觉，迷惑 | |
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102
cabal
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| n.政治阴谋小集团 | |
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extravagant
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| adj.奢侈的；过分的；(言行等)放肆的 | |
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104
bombast
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| n.高调，夸大之辞 | |
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intoxication
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| n.wild excitement;drunkenness；poisoning | |
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106
discriminates
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| 分别，辨别，区分( discriminate的第三人称单数 )； 歧视，有差别地对待 | |
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