The Renaissance Part 7
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But as the mind itself has had an historical development, one form of art, by the very limitations of its material, may be more adequate than another for the expression of any one phase of that development. Different att.i.tudes of the imagination have a native affinity with different types of sensuous form, so that they combine together, with completeness and ease. The arts may thus be ranged in a series, which corresponds to a series of developments in the human mind itself. Architecture, which begins in a practical need, can only express by vague hint or symbol the spirit or mind of the artist. He closes his sadness over him, or wanders in the perplexed intricacies of things, or projects his purpose from him clean-cut and sincere, or bares himself to the sunlight. But these spiritualities, felt rather than seen, can but lurk about architectural form as volatile effects, to be gathered from it by reflexion. Their expression is, indeed, not really sensuous at all. As human form is not the subject with which it deals, architecture is the mode in which the artistic effort centres, when the thoughts of man concerning himself are still indistinct, when he is still little preoccupied with those harmonies, storms, victories, of the unseen and intellectual world, which, wrought out into the bodily form, give it an interest and significance  communicable to it alone. The art of Egypt, with its supreme architectural effects, is, according to Hegel's beautiful comparison, a Memnon waiting for the day, the day of the Greek spirit, the humanistic spirit, with its power of speech.
Again, painting, music, and poetry, with their endless power of complexity, are the special arts of the romantic and modern ages.
Into these, with the utmost attenuation of detail, may be translated every delicacy of thought and feeling, incidental to a consciousness brooding with delight over itself. Through their gradations of shade, their exquisite intervals, they project in an external form that which is most inward in pa.s.sion or sentiment.
Between architecture and those romantic arts of painting, music, and poetry, comes sculpture, which, unlike architecture, deals immediately with man, while it contrasts with the romantic arts, because it is not self-a.n.a.lytical. It has to do more exclusively than any other art with the human form, itself one entire medium of spiritual expression, trembling, blus.h.i.+ng, melting into dew, with inward excitement. That spirituality which only lurks about architecture as a volatile effect, in sculpture takes up the whole given material, and penetrates it with an imaginative motive; and at first sight sculpture, with its solidity of form, seems a thing more real and full than the faint, abstract world of poetry or painting. Still the fact is the reverse. Discourse and action show man as he is, more directly than the play of  the muscles and the moulding of the flesh; and over these poetry has command.
Painting, by the flus.h.i.+ng of colour in the face and dilatation of light in the eye--music, by its subtle range of tones--can refine most delicately upon a single moment of pa.s.sion, unravelling its subtlest threads.
But why should sculpture thus limit itself to pure form? Because, by this limitation, it becomes a perfect medium of expression for one peculiar motive of the imaginative intellect. It therefore renounces all those attributes of its material which do not forward that motive. It has had, indeed, from the beginning an unfixed claim to colour; but this element of colour in it has always been more or less conventional, with no melting or modulation of tones, never permitting more than a very limited realism. It was maintained chiefly as a religious tradition. In proportion as the art of sculpture ceased to be merely decorative, and subordinate to architecture, it threw itself upon pure form. It renounces the power of expression by lower or heightened tones. In it, no member of the human form is more significant than the rest; the eye is wide, and without pupil; the lips and brow are hardly less significant than hands, and b.r.e.a.s.t.s, and feet. But the limitation of its resources is part of its pride: it has no backgrounds, no sky or atmosphere, to suggest and interpret a train of feeling; a little of suggested motion, and much of pure light on its gleaming surfaces, with pure form--only these.
 And it gains more than it loses by this limitation to its own distinguis.h.i.+ng motives; it unveils man in the repose of his unchanging characteristics. That white light, purged from the angry, blood-like stains of action and pa.s.sion, reveals, not what is accidental in man, but the tranquil G.o.ds.h.i.+p in him, as opposed to the restless accidents of life. The art of sculpture records the first nave, unperplexed recognition of man by himself; and it is a proof of the high artistic capacity of the Greeks, that they apprehended and remained true to these exquisite limitations, yet, in spite of them, gave to their creations a mobile, a vital, individuality.
Heiterkeit--blitheness or repose, and Allgemeinheit--generality or breadth, are, then, the supreme characteristics of the h.e.l.lenic ideal. But that generality or breadth has nothing in common with the lax observation, the unlearned thought, the flaccid execution, which have sometimes claimed superiority in art, on the plea of being "broad" or "general." h.e.l.lenic breadth and generality come of a culture minute, severe, constantly renewed, rectifying and concentrating its impressions into certain pregnant types.
The basis of all artistic genius lies in the power of conceiving humanity in a new and striking way, of putting a happy world of its own creation in place of the meaner world of our common days, generating around itself an atmosphere with a novel power of refraction, selecting, transforming, recombining the images it transmits, according to  the choice of the imaginative intellect. In exercising this power, painting and poetry have a variety of subject almost unlimited. The range of characters or persons open to them is as various as life itself; no character, however trivial, misshapen, or unlovely, can resist their magic.
That is because those arts can accomplish their function in the choice and development of some special situation, which lifts or glorifies a character, in itself not poetical. To realise this situation, to define, in a chill and empty atmosphere, the focus where rays, in themselves pale and impotent, unite and begin to burn, the artist may have, indeed, to employ the most cunning detail, to complicate and refine upon thought and pa.s.sion a thousand-fold. Let us take a brilliant example from the poems of Robert Browning. His poetry is pre-eminently the poetry of situations. The characters themselves are always of secondary importance; often they are characters in themselves of little interest; they seem to come to him by strange accidents from the ends of the world. His gift is shown by the way in which he accepts such a character, throws it into some situation, or apprehends it in some delicate pause of life, in which for a moment it becomes ideal. In the poem ent.i.tled Le Byron de nos Jours, in his Dramatis Personae, we have a single moment of pa.s.sion thrown into relief after this exquisite fas.h.i.+on. Those two jaded Parisians are not intrinsically interesting: they begin to interest us only  when thrown into a choice situation. But to discriminate that moment, to make it appreciable by us, that we may "find" it, what a cobweb of allusions, what double and treble reflexions of the mind upon itself, what an artificial light is constructed and broken over the chosen situation; on how fine a needle's point that little world of pa.s.sion is balanced! Yet, in spite of this intricacy, the poem has the clear ring of a central motive. We receive from it the impression of one imaginative tone, of a single creative act.
To produce such effects at all requires all the resources of painting, with its power of indirect expression, of subordinate but significant detail, its atmosphere, its foregrounds and backgrounds. To produce them in a pre-eminent degree requires all the resources of poetry, language in its most purged form, its remote a.s.sociations and suggestions, its double and treble lights.
These appliances sculpture cannot command. In it, therefore, not the special situation, but the type, the general character of the subject to be delineated, is all-important. In poetry and painting, the situation predominates over the character; in sculpture, the character over the situation. Excluded by the proper limitation of its material from the development of exquisite situations, it has to choose from a select number of types intrinsically interesting-- interesting, that is, independently of any special situation into which they may be thrown. Sculpture  finds the secret of its power in presenting these types, in their broad, central, incisive lines. This it effects not by acc.u.mulation of detail, but by abstracting from it. All that is accidental, all that distracts the simple effect upon us of the supreme types of humanity, all traces in them of the commonness of the world, it gradually purges away.
Works of art produced under this law, and only these, are really characterised by h.e.l.lenic generality or breadth. In every direction it is a law of restraint. It keeps pa.s.sion always below that degree of intensity at which it must necessarily be transitory, never winding up the features to one note of anger, or desire, or surprise. In some of the feebler allegorical designs of the middle age, we find isolated qualities portrayed as by so many masks; its religious art has familiarised us with faces fixed immovably into blank types of placid reverie. Men and women, again, in the hurry of life, often wear the sharp impress of one absorbing motive, from which it is said death sets their features free. All such instances may be ranged under the grotesque; and the h.e.l.lenic ideal has nothing in common with the grotesque. It allows pa.s.sion to play lightly over the surface of the individual form, losing thereby nothing of its central impa.s.sivity, its depth and repose. To all but the highest culture, the reserved faces of the G.o.ds will ever have something of insipidity.
 Again, in the best Greek sculpture, the archaic immobility has been stirred, its forms are in motion; but it is a motion ever kept in reserve, and very seldom committed to any definite action. Endless as are the att.i.tudes of Greek sculpture, exquisite as is the invention of the Greeks in this direction, the actions or situations it permits are simple and few. There is no Greek Madonna; the G.o.ddesses are always childless. The actions selected are those which would be without significance, except in a divine person--binding on a sandal or preparing for the bath.
When a more complex and significant action is permitted, it is most often represented as just finished, so that eager expectancy is excluded, as in the image of Apollo just after the slaughter of the Python, or of Venus with the apple of Paris already in her hand. The Laoc.o.o.n, with all that patient science through which it has triumphed over an almost unmanageable subject, marks a period in which sculpture has begun to aim at effects legitimate, because delightful, only in painting.
The hair, so rich a source of expression in painting, because, relatively to the eye or the lip, it is mere drapery, is withdrawn from attention; its texture, as well as its colour, is lost, its arrangement but faintly and severely indicated, with no broken or enmeshed light. The eyes are wide and directionless, not fixing anything with their gaze, nor riveting the brain to any special  external object, the brows without hair. Again, Greek sculpture deals almost exclusively with youth, where the moulding of the bodily organs is still as if suspended between growth and completion, indicated but not emphasised; where the transition from curve to curve is so delicate and elusive, that Winckelmann compares it to a quiet sea, which, although we understand it to be in motion, we nevertheless regard as an image of repose; where, therefore, the exact degree of development is so hard to apprehend. If a single product only of h.e.l.lenic art were to be saved in the wreck of all beside, one might choose perhaps from the "beautiful mult.i.tude" of the Panathenaic frieze, that line of youths on horseback, with their level glances, their proud, patient lips, their chastened reins, their whole bodies in exquisite service. This colourless, uncla.s.sified purity of life, with its blending and interpenetration of intellectual, spiritual, and physical elements, still folded together, pregnant with the possibilities of a whole world closed within it, is the highest expression of the indifference which lies beyond all that is relative or partial. Everywhere there is the effect of an awaking, of a child's sleep just disturbed. All these effects are united in a single instance--the adorante of the museum of Berlin, a youth who has gained the wrestler's prize, with hands lifted and open, in praise for the victory. Fresh, unperplexed, it is the image of a man as he springs first from the sleep of nature, his white light  taking no colour from any one-sided experience. He is characterless, so far as character involves subjection to the accidental influences of life.
"This sense," says Hegel, "for the consummate modelling of divine and human forms was pre-eminently at home in Greece.
In its poets and orators, its historians and philosophers, Greece cannot be conceived from a central point, unless one brings, as a key to the understanding of it, an insight into the ideal forms of sculpture, and regards the images of statesmen and philosophers, as well as epic and dramatic heroes, from the artistic point of view. For those who act, as well as those who create and think, have, in those beautiful days of Greece, this plastic character.
They are great and free, and have grown up on the soil of their own individuality, creating themselves out of themselves, and moulding themselves to what they were, and willed to be. The age of Pericles was rich in such characters; Pericles himself, Pheidias, Plato, above all Sophocles, Thucydides also, Xenophon and Socrates, each in his own order, the perfection of one remaining undiminished by that of the others. They are ideal artists of themselves, cast each in one flawless mould, works of art, which stand before us as an immortal presentment of the G.o.ds. Of this modelling also are those bodily works of art, the victors in the Olympic games; yes! and even Phryne, who, as the most beautiful of women,  ascended naked out of the water, in the presence of a.s.sembled Greece."
This key to the understanding of the Greek spirit, Winckelmann possessed in his own nature, itself like a relic of cla.s.sical antiquity, laid open by accident to our alien, modern atmosphere.
To the criticism of that consummate Greek modelling he brought not only his culture but his temperament. We have seen how definite was the leading motive of that culture; how, like some central root-fibre, it maintained the well-rounded unity of his life through a thousand distractions. Interests not his, nor meant for him, never disturbed him. In morals, as in criticism, he followed the clue of instinct, of an unerring instinct. Penetrating into the antique world by his pa.s.sion, his temperament, he enunciated no formal principles, always hard and one-sided. Minute and anxious as his culture was, he never became one-sidedly self- a.n.a.lytical. Occupied ever with himself, perfecting himself and developing his genius, he was not content, as so often happens with such natures, that the atmosphere between him and other minds should be thick and clouded; he was ever jealously refining his meaning into a form, express, clear, objective. This temperament he nurtured and invigorated by friends.h.i.+ps which kept him always in direct contact with the spirit of youth. The beauty of the Greek statues was a s.e.xless beauty: the statues of the G.o.ds had the least traces of s.e.x.  Here there is a moral s.e.xlessness, a kind of ineffectual wholeness of nature, yet with a true beauty and significance of its own.
One result of this temperament is a serenity--Heiterkeit--which characterises Winckelmann's handling of the sensuous side of Greek art. This serenity is, perhaps, in great measure, a negative quality: it is the absence of any sense of want, or corruption, or shame. With the sensuous element in Greek art he deals in the pagan manner; and what is implied in that? It has been sometimes said that art is a means of escape from "the tyranny of the senses." It may be so for the spectator: he may find that the spectacle of supreme works of art takes from the life of the senses something of its turbid fever. But this is possible for the spectator only because the artist, in producing those works, has gradually sunk his intellectual and spiritual ideas in sensuous form. He may live, as Keats lived, a pure life; but his soul, like that of Plato's false astronomer, becomes more and more immersed in sense, until nothing which lacks the appeal to sense has interest for him. How could such an one ever again endure the greyness of the ideal or spiritual world? The spiritualist is satisfied as he watches the escape of the sensuous elements from his conceptions; his interest grows, as the dyed garment bleaches in the keener air. But the artist steeps his thought again and again into the fire of colour. To the Greek this immersion in  the sensuous was, religiously, at least, indifferent. Greek sensuousness, therefore, does not fever the conscience: it is shameless and childlike. Christian asceticism, on the other hand, discrediting the slightest touch of sense, has from time to time provoked into strong emphasis the contrast or antagonism to itself, of the artistic life, with its inevitable sensuousness.--I did but taste a little honey with the end of the rod that was in mine hand, and lo! I must die.--It has sometimes seemed hard to pursue that life without something of conscious disavowal of a spiritual world; and this imparts to genuine artistic interests a kind of intoxication. From this intoxication Winckelmann is free: he fingers those pagan marbles with unsinged hands, with no sense of shame or loss. That is to deal with the sensuous side of art in the pagan manner.
The longer we contemplate that h.e.l.lenic ideal, in which man is at unity with himself, with his physical nature, with the outward world, the more we may be inclined to regret that he should ever have pa.s.sed beyond it, to contend for a perfection that makes the blood turbid, and frets the flesh, and discredits the actual world about us. But if he was to be saved from the ennui which ever attaches itself to realisation, even the realisation of the perfect life, it was necessary that a conflict should come, that some sharper note should grieve the existing harmony, and the spirit chafed by it beat out at last only a larger and profounder music.
 In Greek tragedy this conflict has begun: man finds himself face to face with rival claims. Greek tragedy shows how such a conflict may be treated with serenity, how the evolution of it may be a spectacle of the dignity, not of the impotence, of the human spirit. But it is not only in tragedy that the Greek spirit showed itself capable of thus bringing joy out of matter in itself full of discouragements. Theocritus too strikes often a note of romantic sadness. But what a blithe and steady poise, above these discouragements, in a clear and sunny stratum of the air!
Into this stage of Greek achievement Winckelmann did not enter.
Supreme as he is where his true interest lay, his insight into the typical unity and repose of the highest sort of sculpture seems to have involved limitation in another direction. His conception of art excludes that bolder type of it which deals confidently and serenely with life, conflict, evil. Living in a world of exquisite but abstract and colourless form, he could hardly have conceived of the subtle and penetrative, yet somewhat grotesque art of the modern world. What would he have thought of Gilliatt, in Victor Hugo's Travailleurs de la Mer, or of the bleeding mouth of Fantine in the first part of Les Miserables, penetrated as those books are with a sense of beauty, as lively and transparent as that of a Greek? Nay, a sort of preparation for the romantic temper is noticeable even within the limits of the Greek ideal itself, 
which for his part Winckelmann failed to see. For Greek religion has not merely its mournful mysteries of Adonis, of Hyacinthus, of Demeter, but it is conscious also of the fall of earlier divine dynasties. Hyperion gives way to Apollo, Ocea.n.u.s to Poseidon.
Around the feet of that tranquil Olympian family still crowd the weary shadows of an earlier, more formless, divine world. The placid minds even of Olympian G.o.ds are troubled with thoughts of a limit to duration, of inevitable decay, of dispossession.
Again, the supreme and colourless abstraction of those divine forms, which is the secret of their repose, is also a premonition of the fleshless, consumptive refinements of the pale, medieval artists. That high indifference to the outward, that impa.s.sivity, has already a touch of the corpse in it: we see already Angelico and the Master of the Pa.s.sion in the artistic future. The suppression of the sensuous, the shutting of the door upon it, the ascetic interest, may be even now foreseen. Those abstracted G.o.ds, "ready to melt out their essence fine into the winds," who can fold up their flesh as a garment, and still remain themselves, seem already to feel that bleak air, in which like Helen of Troy, they wander as the spectres of the middle age.
Gradually, as the world came into the church, an artistic interest, native in the human soul, rea.s.serted its claims. But Christian art was still dependent on pagan examples, building the  shafts of pagan temples into its churches, perpetuating the form of the basilica, in later times working the disused amphitheatres as stone quarries. The sensuous expression of ideas which unreservedly discredit the world of sense, was the delicate problem which Christian art had before it. If we think of medieval painting, as it ranges from the early German schools, still with something of the air of the charnel-house about them, to the clear loveliness of Perugino, we shall see how that problem was solved. In the very "wors.h.i.+p of sorrow" the native blitheness of art a.s.serted itself. The religious spirit, as Hegel says, "smiled through its tears." So perfectly did the young Raphael infuse that Heiterkeit, that pagan blitheness, into religious works, that his picture of Saint Agatha at Bologna became to Goethe a step in the evolution of Iphigenie.* But in proportion as the gift of smiling was found once more, there came also an aspiration towards that lost antique art, some relics of which Christian art had buried in itself, ready to work wonders when their day came.
The history of art has suffered as much as any history by trenchant and absolute divisions. Pagan and Christian art are sometimes harshly opposed, and the Renaissance is represented as a fas.h.i.+on which set in at a definite period. That is the superficial view: the deeper view is that which preserves the ident.i.ty of European culture.  The two are really continuous; and there is a sense in which it may be said that the Renaissance was an uninterrupted effort of the middle age, that it was ever taking place. When the actual relics of the antique were restored to the world, in the view of the Christian ascetic it was as if an ancient plague-pit had been opened. All the world took the contagion of the life of nature and of the senses. And now it was seen that the medieval spirit too had done something for the new fortunes of the antique. By hastening the decline of art, by withdrawing interest from it and yet keeping unbroken the thread of its traditions, it had suffered the human mind to repose itself, that when day came it might awake, with eyes refreshed, to those ancient, ideal forms.
The aim of a right criticism is to place Winckelmann in an intellectual perspective, of which Goethe is the foreground. For, after all, he is infinitely less than Goethe; and it is chiefly because at certain points he comes in contact with Goethe, that criticism entertains consideration of him. His relation to modern culture is a peculiar one. He is not of the modern world; nor is he wholly of the eighteenth century, although so much of his outer life is characteristic of it. But that note of revolt against the eighteenth century, which we detect in Goethe, was struck by Winckelmann.
Goethe ill.u.s.trates a union of the Romantic spirit, in its adventure, its variety, its profound subjectivity of soul, with h.e.l.lenism,  in its transparency, its rationality, its desire of beauty--that marriage of Faust and Helena, of which the art of the nineteenth century is the child, the beautiful lad Euphorion, as Goethe conceives him, on the crags, in the "splendour of battle and in harness as for victory," his brows bound with light.* Goethe ill.u.s.trates, too, the preponderance in this marriage of the h.e.l.lenic element; and that element, in its true essence, was made known to him by Winckelmann.
Breadth, centrality, with blitheness and repose, are the marks of h.e.l.lenic culture. Is such culture a lost art? The local, accidental colouring of its own age has pa.s.sed from it; and the greatness that is dead looks greater when every link with what is slight and vulgar has been severed. We can only see it at all in the reflected, refined light which a great education creates for us.
Can we bring down that ideal into the gaudy, perplexed light of modern life?
Certainly, for us of the modern world, with its conflicting claims, its entangled interests, distracted by so many sorrows, with many preoccupations, so bewildering an experience, the problem of unity with ourselves, in blitheness and repose, is far harder than it was for the Greek within the simple terms of antique life. Yet, not less than ever, the intellect demands completeness, centrality.
It is this which Winckelmann imprints on the imagination of  Goethe, at the beginning of life, in its original and simplest form, as in a fragment of Greek art itself, stranded on that littered, indeterminate sh.o.r.e of Germany in the eighteenth century. In Winckelmann, this type comes to him, not as in a book or a theory, but more importunately, because in a pa.s.sionate life, in a personality. For Goethe, possessing all modern interests, ready to be lost in the perplexed currents of modern thought, he defines, in clearest outline, the eternal problem of culture--balance, unity with one's self, consummate Greek modelling.
It could no longer be solved, as in Phryne ascending naked out of the water, by perfection of bodily form, or any joyful union with the external world: the shadows had grown too long, the light too solemn, for that. It could hardly be solved, as in Pericles or Pheidias, by the direct exercise of any single talent: amid the manifold claims of our modern intellectual life, that could only have ended in a thin, one-sided growth. Goethe's h.e.l.lenism was of another order, the Allgemeinheit and Heiterkeit, the completeness and serenity, of a watchful, exigent intellectualism.
Im Ganzen, Guten, Wahren, resolut zu leben:--is Goethe's description of his own higher life; and what is meant by life in the whole--im Ganzen? It means the life of one for whom, over and over again, what was once precious has become indifferent.
Every one who aims at the life of culture is met by many forms of it, arising out  of the intense, laborious, one-sided development of some special talent. They are the brightest enthusiasms the world has to show: and it is not their part to weigh the claims which this or that alien form of genius makes upon them. But the proper instinct of self-culture cares not so much to reap all that those various forms of genius can give, as to find in them its own strength. The demand of the intellect is to feel itself alive. It must see into the laws, the operation, the intellectual reward of every divided form of culture; but only that it may measure the relation between itself and them. It struggles with those forms till its secret is won from each, and then lets each fall back into its place, in the supreme, artistic view of life.
With a kind of pa.s.sionate coldness, such natures rejoice to be away from and past their former selves, and above all, they are jealous of that abandonment to one special gift which really limits their capabilities. It would have been easy for Goethe, with the gift of a sensuous nature, to let it overgrow him. It comes easily and naturally, perhaps, to certain "other-worldly"
natures to be even as the Schone Seele, that ideal of gentle pietism, in Wilhelm Meister: but to the large vision of Goethe, this seemed to be a phase of life that a man might feel all round, and leave behind him. Again, it is easy to indulge the commonplace metaphysical instinct. But a taste for metaphysics may be one of those things which we must renounce, if we 
mean to mould our lives to artistic perfection. Philosophy serves culture, not by the fancied gift of absolute or transcendental knowledge, but by suggesting questions which help one to detect the pa.s.sion, and strangeness, and dramatic contrasts of life.
But Goethe's culture did not remain "behind the veil": it ever emerged in the practical functions of art, in actual production.
For him the problem came to be:--Can the blitheness and universality of the antique ideal be communicated to artistic productions, which shall contain the fulness of the experience of the modern world? We have seen that the development of the various forms of art has corresponded to the development of the thoughts of man concerning humanity, to the growing revelation of the mind to itself. Sculpture corresponds to the unperplexed, emphatic outlines of h.e.l.lenic humanism; painting to the mystic depth and intricacy of the middle age; music and poetry have their fortune in the modern world.
Let us understand by poetry all literary production which attains the power of giving pleasure by its form, as distinct from its matter. Only in this varied literary form can art command that width, variety, delicacy of resources, which will enable it to deal with the conditions of modern life. What modern art has to do in the service of culture is so to rearrange the details of modern life, so to reflect it, that it may satisfy the spirit.  And what does the spirit need in the face of modern life? The sense of freedom.
That nave, rough sense of freedom, which supposes man's will to be limited, if at all, only by a will stronger than his, he can never have again. The attempt to represent it in art would have so little verisimilitude that it would be flat and uninteresting. The chief factor in the thoughts of the modern mind concerning itself is the intricacy, the universality of natural law, even in the moral order. For us, necessity is not, as of old, a sort of mythological personage without us, with whom we can do warfare. It is rather a magic web woven through and through us, like that magnetic system of which modern science speaks, penetrating us with a network, subtler than our subtlest nerves, yet bearing in it the central forces of the world. Can art represent men and women in these bewildering toils so as to give the spirit at least an equivalent for the sense of freedom? Certainly, in Goethe's romances, and even more in the romances of Victor Hugo, we have high examples of modern art dealing thus with modern life, regarding that life as the modern mind must regard it, yet reflecting upon it blitheness and repose. Natural laws we shall never modify, embarra.s.s us as they may; but there is still something in the n.o.bler or less n.o.ble att.i.tude with which we watch their fatal combinations. In those romances of Goethe and Victor Hugo, in some excellent work done after them, this 
entanglement, this network of law, becomes the tragic situation, in which certain groups of n.o.ble men and women work out for themselves a supreme Denouement. Who, if he saw through all, would fret against the chain of circ.u.mstance which endows one at the end with those great experiences?
189. +Liddell and Scott definition: "late in learning, late to learn."
190. *Words of Charlotte Corday before the Convention.
191. +Pindar, Odes Book O., poem 10, line 99. E-text editor's translation: "beautiful in appearance, and blended with the fresh spring of youth..."
194. + +Transliteration: philosophesas pote met' erotos. Translation: "Seeking knowledge alongside love."
209. +Symposium, Chapter 4, section 11, line 3. E.C. Marchant, Xenophontis opera omnia, vol. 2, 2nd ed. Oxford: Clarendon Press, 1921 (repr. 1971).
225. *Italianische Reise. Bologna, 19 Oct. 1776.
227. *Faust, Th. ii. Act. 3.
Legei pou Herakleitos hoti panta ch.o.r.ei kai ouden menei.+
 TO regard all things and principles of things as inconstant modes or fas.h.i.+ons has more and more become the tendency of modern thought. Let us begin with that which is without--our physical life. Fix upon it in one of its more exquisite intervals, the moment, for instance, of delicious recoil from the flood of water in summer heat. What is the whole physical life in that moment but a combination of natural elements to which science gives their names? But those elements, phosphorus and lime and delicate fibres, are present not in the human body alone: we detect them in places most remote from it. Our physical life is a perpetual motion of them--the pa.s.sage of the blood, the waste and repairing of the lenses of the eye,  the modification of the tissues of the brain under every ray of light and sound-- processes which science reduces to simpler and more elementary forces. Like the elements of which we are composed, the action of these forces extends beyond us: it rusts iron and ripens corn.
Far out on every side of us those elements are broadcast, driven in many currents; and birth and gesture and death and the springing of violets from the grave are but a few out of ten thousand resultant combinations. That clear, perpetual outline of face and limb is but an image of ours, under which we group them--a design in a web, the actual threads of which pa.s.s out beyond it. This at least of flamelike our life has, that it is but the concurrence, renewed from moment to moment, of forces parting sooner or later on their ways.
Or if we begin with the inward world of thought and feeling, the whirlpool is still more rapid, the flame more eager and devouring.
The Renaissance Part 7
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The Renaissance Part 7 summary
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