The Psychology of Beauty Part 3

in our scheme has dropped out. In my mind there reigns but one thought. The transition feeling goes, for there is nothing to be "related." Now "it is one blaze, about me and within me;"

I am that light, and myself no longer. My consciousness is a unit or a blank, as you please. If you say that I am self- hypnotized, I may reply that I have simply ceased to feel myself different from the content of my consciousness, because that content has ceased to allow a transition between its terms.

This is, however, not the only possible form of the disappearance of our "twoness," and the resulting loss of the self-feeling.

When the sequence of objects in consciousness is so rapid that the feeling of transition, expressed in motor terms, drops below the threshold of sensation, the feeling of self again fades.

Think, for instance, of the Baccha.n.a.l orgies. The votary of Dionysus, dancing, shrieking, tearing at his hair and at his garments, lost in the lightning change of his sensations all power of relating them. His mind was ringed in a whirling circle, every point of which merged into the next without possibility of differentiation. And since he could feel no transition periods, he could feel HIMSELF no longer; he was one with the content of his consciousness, which consciousness was no less a unit than our bright light aforesaid, just as a circle is as truly a unit as a point. The priest of Dionysus must have felt himself only a dancing, shouting thing, one with the world without, "whirled round in earth's diurnal course with rocks and stones and trees." And how perfectly the ancient belief fits our psychophysical a.n.a.lysis! The Bacchic enthusiast believed himself possessed with the very ecstasy of the spirit of nature. His inspired madness was the presence of the G.o.d who descended upon him,--the G.o.d of the vine, of spring; the rising sap, the rus.h.i.+ng stream, the bursting leaf, the rippling song, all the life of flowing things, they were he! "Autika ga pasa zoreusei," was the cry,--"soon the whole earth will dance and sing!"

Yes, this breaking down of barriers, this melting of the personality into its surroundings, this strange and sweet self- abandonment must have its source in just the disappearance of the sensation of adjustment, on which the feeling of personality is based. But how can it be, we have to ask, that a principle so barren of emotional significance should account for the ecstasy of religious emotion, of aesthetic delight, of creative inspiration? It is not, however, religion or beauty or genius that is the object of our inquiry at this moment, but simply the common element in the experience of each of these which we know as the disappearance of self-feeling. How the circ.u.mstances peculiar to religious wors.h.i.+p, aesthetic appreciation, and intellectual creation bring about the formal conditions of the loss of personal feeling must be sought in a more detailed a.n.a.lysis, and we shall then be able to trace the source of the intensity of emotion in these experiences. What, then, first of all, are the steps by which priest and poet and thinker have pa.s.sed into the exaltation of selfless emotion? Fortunately, the pa.s.sionate pilgrims of all three realms of deep experience have been ever prodigal of their confessions. The religious ecstasy, however, embodies the most complete case, and allows the clearest insight into the nature of the experience; and will therefore be dealt with at greatest length.

The typical religious enthusiast is the mystic. From Plotinus to Buddha, from Meister Eckhart to Emerson, the same doctrine has brought the same fruits of religious rapture. There is one G.o.d, and in contemplation of Him the soul becomes of his essence. Whether it is held, as by the Neoplatonists, that Being and Knowledge are one, that the procedure of the world out of G.o.d is a process of self-revelation, and the return of things into G.o.d a process of higher and higher intuition, and so the mystic experience an apprehension of the highest rather than a form of wors.h.i.+p; or whether it is expressed as by the humble Beguine, Mechthild,--"My soul swims in the Being of G.o.d as a fish in water,'--the kernel of the mystic's creed is the same. In ecstatic contemplation of G.o.d, and, in the higher states, in ecstatic union with Him, in sinking the individuality in the divine Being, is the only true life. Not all, it is true, who hold the doctrine have had the experience; not all can say with Eckhart or with Madame Guyon, "I have seen G.o.d in my own soul," or "I have become one with G.o.d." It is from the narratives and the counsels of perfection of these, the chosen, the initiate, who have pa.s.sed beyond the veil, that light may be thrown on the psychological conditions of mystic ecstasy.

The most illuminating account of her actual mystical experiences is given by Madame Guyon, the first of the sect or school of the Quietists. This gentle Frenchwoman had a gift for psychological observation, and though her style is neither poetic nor philosophical, I may be pardoned for quoting at some length her naive and lucid revelations. The following pa.s.sages, beginning with an early religious experience, are taken almost at random from the pages of her autobiography:--

"These sermons made such an impression on my mind, and absorbed me so strongly in G.o.d, that I could not open my eyes nor hear what was said." "To hear Thy name, O my G.o.d, could put me into a profound prayer....I could not see any longer the saints nor the Holy Virgin outside of G.o.d; but I saw them all in Him, scarcely being able to distinguish them from Him....I could not hear G.o.d nor our Lord Jesus Christ spoken of without being, as it were, outside of myself [hors de moi]....Love seized me so strongly that I remained absorbed, in a profound silence and a peace that I cannot describe. I made ever new efforts, and I pa.s.sed my life in beginning my prayers without being able to carry them through....I could ask nothing for myself nor for another, nor wish anything but this divine will....I do not believe that there could be in the world anything more simple and more unified....It is a state of which one can say nothing more, because it evades all expression,--a state in which the creature is lost, engulfed. All is G.o.d, and the soul perceives only G.o.d. It has to strive no more for perfection, for growth, for approach to Him, for union. All is consummated in the unity, but in a manner so free, so natural, so easy, that the soul lives from the air which it breathes....The spirit is empty, no more traversed by thoughts; nothing fills the void, which is no longer painful, and the soul finds in itself an immense capacity that nothing can either limit or destroy."

Can we fail to trace in these simple words the shadow of all religious exaltation that is based on faith alone? Madame Guyon is strung to a higher key than most of this dull and relaxed world; but she has struck the eternal note of contemplative wors.h.i.+p. Such is the sense of union with the divine Spirit.

Such are the thoughts and even the words of Dante, Eckhart, St.

Teresa, the countless mystics of the Middle Age, and of the followers of Buddhism in its various shades, from the Ganges to the Charles. Two characteristics disengage themselves to view: the insistence on the unity of G.o.d--IN whom alone the Holy Virgin and the saints are seen--from a psychological point of view only; and the mind's emptiness of thought in a state of religious ecstasy. But without further a.n.a.lysis, we may ask, as the disciples of the mystics have always done, how this state of blissful union is to be reached. They have always been minute in their prescriptions, and it is possible to derive therefrom what may be called the technique of the mystic procedure.

"The word mystic," to quote Walter Pater, "has been derived from a Greek word which signifies to shut, as if one shut one's lips, brooding on what cannot be uttered; but the Platonists themselves derive it rather from the act of shutting the eyes, that one may see the more, inwardly." Of such is the counsel of St. Luis de Granada, "Imitate the sportsman who hoods the falcon that it be made subservient to his rule;" and of another Spanish mystic, Pedro de Alcantara: "In meditation, let the person rouse himself from things temporal, and let him collect himself within himself ....Here let him hearken to the voice of G.o.d...as though there were no other in the world save G.o.d and himself." St. Teresa found happiness only in "shutting herself up within herself."

Vocal prayer could not satisfy her, and she adopted mental prayer. The four stages of her experience--which she named "recollectedness," "quietude" (listening rather than speaking), "union" (blissful sleep with the faculties of the mind still), "ecstasy or rapture"--are but progressive steps in the sealing of the senses. The yoga of the Brahmins, which is the same as the "union" of the Cabalists, is made to depend upon the same conditions,--pa.s.sivity, perseverance, solitude. The novice must arrest his breathing, and may meditate on mystic symbols alone, by way of reaching the formless, ineffable Buddha. But it is useless to heap up evidence; the inference is sufficiently clear.

The body is first brought into a state either of nervous instability or irritability by ascetic practices, or of nervous insensibility by the persistent withdrawal of all outer disturbance; and the mind is fixed upon a single object,--the one G.o.d, the G.o.d eternal, absolute, indivisible. Recalling our former scheme for the conditions of the sense of personality, we shall see that we have here the two poles of consciousness.

Then, as the tension is sharpened, what happens? Under the artificial conditions of weakened nerves, of blank surroundings, the self-background drops. The feeling of transition disappears with the absence of related terms; and the remaining, the positive pole of consciousness, is an undifferentiated Unity, with which the person must feel himself one. The feeling of personality is gone with that on which it rests, and its loss is joined with an overwhelming sense of union with the One, the Absolute, G.o.d!

The object of mystic contemplation is the One indivisible. But we can also think the One as the unity of all differences, the Circle of the Universe. Those natures also which, like Amiel's, are "bedazzled with the Infinite" and thirst for "totality"

attain in their reveries to the same impersonal ecstasy. Amiel writes of a "night on the sandy sh.o.r.e of the North Sea, stretched at full length upon the beach, my eyes wandering over the Milky Way. Will they ever return to me, those grandiose, immortal, cosmogonic dreams, in which one seems to carry the world in one's breast, to touch the stars, to possess the Infinite!" The reverie of Senancour, on the bank of the Lake of Bienne, quoted by Matthew Arnold, reveals the same emotion: "Vast consciousness of a nature everywhere greater than we are, and everywhere impenetrable; all-embracing pa.s.sion, ripened wisdom, delicious self-abandonment." In the coincidence of outer circ.u.mstance-- the lake, the North Sea, night, the att.i.tude of repose--may we not trace a dissolution of the self-background, similar to that of the mystic wors.h.i.+per? And in the Infinite, no less than in the One, must the soul sink and melt into union with it, because within it there is no determination, no pause, and no change.

The contemplation of the One, however, is not the only type of mystic ecstasy. That intoxication of emotion which seizes upon the negro camp meeting of to-day, as it did upon the Delphic priestesses two thousand years ago, seems at first glance to have nothing in common psychologically with the blessed nothingness of Gautama and Meister Eckhart. But the loss of the feeling of personality and the sense of possession by a divine spirit are the same. How, then, is this state reached?

By means, I believe, which recall the general formula for the Disappearance of self-feeling. To repeat the monosyllable OM (Brahm) ten thousand times; to circle interminably, chanting the while, about a sacred ire; to listen to the monotonous magic drum; to whirl the body about; to rock to and fro on the knees, vociferating prayers, are methods which enable the members of the respective sects in which they are practiced either to enter, as they say, into the Eternal Being, or to become informed with it through the negation of the self. The sense of personality, at any rate, is more or less completely lost, and the ecstasy takes a form more or less pa.s.sionate, according as the wors.h.i.+per depends on the rapidity rather than on the monotony of his excitations. Here, again, the self- background drops, inasmuch as every rhythmical movement tends to become automatic, and then unconscious. Thus what we are wont to call the inspired madness of the Delphic priestesses was less the expression of ecstasy than the means of its excitation. Perpetual motion, as well as eternal rest, may bring about the engulfment of the self in the object. The most diverse types of religious emotions, IN SO FAR AS THEY PRESENT VARIATIONS IN THE DEGREE OF SELF-CONSCIOUSNESS, are thus seen to be reducible to the same psychological basis.

The circle, no less than the point, is the symbol of the One, and the "devouring unity" that lays hold on consciousness from the loss of the feeling of transition comes in the unrest of enthusiasm no less than in the blissful nothing of Nirvana.

At this point, I am sure, the reader will interpose a protest.

Is, then, the mystery of self-abandonment to the highest to be shared with the meanest of fanatics? Are the rapture of Dante and the trance of the Omphalopsychi sprung from the same root? There is no occasion, however, for the revolt of sentiment because we fail to emphasize here the important differences in the emotional character and value of the states in question. What interests us is only one aspect which they have in common, the surrender of the sense of personality.

That is based on formal relations of the elements of consciousness, and the explanation of its disappearance applies as well to the whirling dervish as to the converts of a revivalist preacher.

The mystic, then, need only shut his senses to the world, and contemplate the One. Subject fuses with object, and he feels himself melt into the Infinite. But each experience is not the exclusive property of the religious enthusiast. The wors.h.i.+per of beauty has given evidence of the same feelings.

And yet, in his aesthetic rapture, the latter dwells with deliberation on his delights, and while luxuriating in the infinite labyrinths of beauty can scarcely be described as musing on an undifferentiated Unity. So far, at least, it does not appear that our formula applies to aesthetic feeling.

Aesthetic feeling arises in the contemplation of a beautiful object. But what makes an object beautiful? To go still further back, just what, psychologically, does contemplation mean? To contemplate an object is to dwell on the idea or image of it, and to dwell upon an idea means to carry it out incipiently. We may go even further, and say it is the carrying out by virtue of which we grasp the idea. How do we think of a tall pine-tree? By sweeping our eyes up and down its length, and out to the ends of its branches; and if we are forbidden to use our eye muscles even infinitesimally, then we cannot think of the visual image. In short, we perceive an object in s.p.a.ce by carrying out its motor suggestions; more technically expressed, by virtue of a complex of motor impulses aroused by it; more briefly, by incipiently imitating it. Contemplation is inner imitation.

Now a beautiful object is first of all a unified object; why this must be so has been considered in the preceding chapter.

In it all impulses of soul and sense are bound to react upon one another, and to lead back to one another. And all the elements, which in contemplation we reproduce in the form of motor impulses, are bound to make a closed circle of these suggested energies. The symmetrical picture calls out a set of motor impulses which "balance,"--a system of energies reacting on one centre; the sonnet takes us out on one wave of rhythm and of thought, to bring us back on another to the same point; the sonata does the same in melody. In the "whirling circle" of the drama, not a word or an act that is not indissolubly linked with before and after. Thus the unity of a work of art makes of the system of suggested energies which form the foreground of attention an impregnable, an invulnerable circle.

Not only, however, are we held in equilibrium in the object of attention; we cannot connect with it our self-background, for the will cannot act on the object of aesthetic feeling.

We cannot eat the grapes of Apelles or embrace the Galatea of Pygmalion; we cannot rescue Ophelia or enlighten Juliet; and of impulse to interfere, to connect the scene with ourselves, we have none. But this is a less important factor in the situation. That the house is dark, the audience silent, and all motor impulses outside of the aesthetic circle stifled, is, too, only a superficial, and, so to speak, a negative condition.

The real ground of the possibility of a momentary self- annihilation lies in the fact that all incitements to motor impulse--except those which belong to the indissoluble ring of the object itself--have been shut out by the perfection of unity to which the aesthetic object (here the drama) has been brought. The background fades; the foreground satisfies, incites no movement; and with the disappearance of the possibility of action which would connect the two, fades also that which dwells in this feeling of transition,--the sense of personality. The depth of aesthetic feeling lies not in the worthy countryman who interrupts the play with cries for justice on the villain, but in him who creates the drama again with the poet, who lives over again in himself each of the thrills of emotion pa.s.sing before him, and loses himself in their web. The object is a unity or our whirling circle of impulses, as you like to phrase it. At any rate, out of that unity the soul does not return upon itself; it remains one with it in the truest sense.

The loss of the sense of personality is an integral part of the aesthetic experience; and we have seen how it is a necessary psychological effect of the unity of the object.

From another point of view it may be said that the unity of the object is const.i.tuted just by the inhibition of all tendency to movement through the balance or centrality of impulses suggested by it. In other words, the balance of impulses makes us feel the object a unity. And this balance of impulses, this inhibition of movement, corresponding to unity, is what we know as aesthetic repose. Thus the conditions of aesthetic repose and of the loss of self-feeling are the same. In fact, it might be said that, within this realm, the two conceptions are identical. The true aesthetic repose is just that perfect rest in the beautiful object which is the essence of the loss of the sense of personality.

Subtler and rarer, again, than the raptures of mysticism and of beauty wors.h.i.+p is the ecstasy of intellectual production; yet the "clean, clear joy of creation," as Kipling names it, is not less to be grouped with those precious experiences in which the self is sloughed away, and the soul at one with its content. I speak, of course, of intellectual production in full swing, in the momentum of success. The travail of soul over apparently hopeless difficulties or in the working out of indifferent details takes place not only in full self- consciousness, but in self-disgust; there we can take Carlyle to witness. But in the higher stages the fixation of truth and the appreciation of beauty are accompanied by the same extinction of the feeling of individuality. Of testimony we have enough and to spare. I need not fill these pages with confessions and anecdotes of the ecstatical state in which all great deeds of art and science are done. The question is rather to understand and explain it on the basis of the formal scheme to which we have found the religious and the aesthetic att.i.tudes to conform.

Jean Paul says somewhere that, however laborious the completion of a great work, its conception came as a whole,--in one flash.

We remember the dreams of Schiller in front of his red curtain and the resulting musikalische Stimmung,--formless, undirected, out of which his poem shaped itself; the half-somnambulic state of Goethe and his frantic haste in fixation of the vision, in which he dared not even stop to put his paper straight, but wrote over the corners quite ruthlessly. Henner once said to a painter who mourned that he had done nothing on his picture for the Salon, though he saw it before him, "What! You see your picture! Then it is done. You can paint it in an hour."

If all these traditions be true, they are significant; and the necessary conditions of such composition seem to be highly a.n.a.logous to those of the aesthetic emotion. We have, first of all, a lack of outward stimulation, and therefore possible disappearance of the background. How much better have most poets written in a garret than in a boudoir! Goethe's bare little room in the garden house at Weimar testifies to the severe conditions his genius found necessary. Tranquillity of the background is the condition of self-absorption, or-- and this point seems to me worth emphasizing--a closed circle of outer activities. I have never believed, for instance, in the case of the old tale of Walter Scott and the b.u.t.ton, that it was the surprise of his loss that tied the tongue of the future author's rival. The poor head scholar had simply made for himself a transitionless experience with that twirling b.u.t.ton, and could then sink his consciousness in its object,-- at that moment the master's questions. It is with many of us a familiar experience, that of not being able to think unless in constant motion. Translated into our psychological scheme, the efficiency of these movements would be explained thus: Given the "whirling circles,"--the background of continuous movement sensations, which finally dropped out of consciousness, and the foreground of continuous thought,--the first protected, so to speak, the second, since they were mutually exclusive, and what broke the one destroyed the other.

But to return from this digression, a background fading into nothingness, either as rest or as a closed circle of automatic movements, is the first condition of the ecstasy of mental production. The second is given in the character of its object. The object of high intellectual creation is a unity,-- a perfect whole, revealed, as Jean Paul says, in a single movement of genius. Within the enchanted circle of his creation, the thinker is absorbed, because here too all his impulses are turned to one end, in relation to which nothing else exists.

I am aware that many will see a sharp distinction here between the work of the creator or discoverer in science and the artist.

They may maintain, in Schopenhauer's phrase, that the aim and end of science is just the connection of objects in the service of the will of the individual, and hence transition between the various terms is constant; while art, on the other hand, indeed isolates its object, and so drops transitions. But I think where we speak of "connection" thus, we mean the larger sweep of law. If the thinker looks beyond his special problem at all, it is, like Buddha, to "fix his eyes upon the chain of causation." The scientist of imagination sees his work under the form of eternity, as one link of that endless chain, one atom in that vortex of almighty purposes, which science will need all time to reveal. For him it is either one question, closed within itself by its own answer, or it is the Infinite Law of the Universe,--the point or the circle. From all points of view, then, the object of creation in art or science is a girdle of impulses from which the mind may not stray. The two conditions of our formal scheme are given: a term which disappears, and one which is a perfect whole. Transition between background and foreground has dropped. Between the objects of attention in the foreground it has no meaning, because the foreground is an indissoluble unity. With that object the self must feel itself one, since the distinctive self-feeling has disappeared with the opportunity for transition.

We have thus swung around the circle of mystical, aesthetic, and creative emotion, and we have found a single formula to apply, and a single explanation to avail for the loss of personality. The conditions of such experiences bring about the disappearance of one term, and the impregnable unity of the other. Without transition between two terms in consciousness, two objects of attention, the loss of the feeling of personality takes place according to natural psychological laws. It is no longer a mystery that in intense experience the feeling of personality dissolves.

One point, however, does remain still unexplained,--the bliss of self-abandonment. Whence are the definiteness and intensity of the religious and aesthetic emotions? The surrender of the sense of personality, it seems, is based on purely formal relations of the elements of consciousness, common to all three groups of the a.n.a.lyzed emotions. Yet it is precisely with a fading of self-feeling that intensity and definiteness deepen.

But how can different and emotionally significant feelings arise from a single formal process? How can the wors.h.i.+p of G.o.d become ecstatic joy through the loss of personality? The solution of this apparent paradox is demanded not only in logic, but also by those who would wish to see the religious trance distinguished also in its origin from those of baser content.

But it is, after all, the formal nature of the phenomenon that gives us light. If variation in the degree of self-feeling is the common factor, and the disappearance of the transition- feeling its cause, then the lowest member of the scale, in which the loss of self-feeling takes place with mathematical completeness, must be included. That is the hypnotic trance.

It is not necessary at this place to emphasize the fact that our theory, if accepted, would const.i.tute a theory and a definition also of hypnotism. Of interest to our inquiry is merely a characteristic mark of the hypnotic state,--its tremendous suggestibility. Why is this? Our theory would answer that all impulses are held in equilibrium, and that an external suggestion has thus no rivals. Whatever the cause, this last is at any rate the fact. All suggestions seem to double in emotional value. Tell the hypnotic subject that he is sailing up the Rhine, and the most vivid admiration is in his aspect; he gazes in heart-felt devotion if it is a pretty girl he is bid to look at; he quaffs a gla.s.s of water with livelier delight than he would show for the draught of Chateau Yquem of which he is led to think.

Now in religious and aesthetic experience there is brought about the same equilibrium or unity of impulses, resulting in a.n.a.logous loss of self-feeling. But it is a most interesting fact that the FORM of the contemplated object is the cause of this arrest and repose. G.o.d, the circle of the Infinite, the Eternal One, enter into play as "unity"

alone. What, then, of the content? After the a.n.a.logy of the extreme case, the content--that is, emotional value and definite emotional tone--takes the place of the external suggestion. Under just the conditions of the religious trance, the element of reverence, of joyous sentiment, is able suddenly to take on a more vivid aspect. It may not be that the emotion itself is greater, but it now holds the field. It may not be that it is more intense, but the intensity of concentration which takes on its color makes it seem so. The "rapture" is just the sense of being caught up into union with the highest; the joy of the rapture is the joy of every thought of G.o.d, here left free to brighten into ecstasy; and its "revelation-value" is again the sense of immediate union with a Being the intellectual concept of whom is immensely vivified.

So may be a.n.a.lyzed the aesthetic ecstasy. The tension of those mutually antagonistic impulses which make balance, and so unity, and so the conditions for loss of sense of self, clears the way for tasting the full savor of pleasure in bright color, flowing line, exquisite tone-sequence, moving thought. Many a commonplace experience, says M. Souriau, suddenly takes on a charm when seen in the arrested aesthetic vision. "Every one can have observed that an object in itself agreeable to look on, like a bouquet of flowers, or the fresh face of a young girl, takes on a sort of magic and supernatural beauty if we regard it mechanically while listening to music."<1> The intensity of concentration caused by the unity of form fuses with this suggested vividness of feeling from content and material, and the whole is felt as intensity of aesthetic emotion. The Sistine Madonna would not strike so deep in feeling were it less crystalline in its unity, less trance-like in its repose, and so less enchanting in its suggestion.

<1> P. Souriau, _La Suggestion en l'Art._

So it is not only the man of achievement who sees but one thing at a time. To enter intensely into any ideal experience means to be blind to all others. One must lose one's own soul to gain the world, and none who enter and return from the paradise of selfless ecstasy will question that it is gained. It may be that personality is a hindrance and a barrier, and that we are only truly in harmony with the secret of our own existence when we cease to set ourselves over against the world.

Nevertheless, the sense of individuality is a possession for which the most of mankind would pay the price, if it must be paid, even of eternal suffering. The delicious hour of fusion with the universe is precious, so it seems to us now, just because we can return from it to our own nest, and, close and warm there, count up our happiness. The fragmentariness and multiplicity of life are, then, the saving of the sense of selfhood, and we must indeed

"Rejoice that man is hurled From change to change unceasingly, His soul's wings never furled."

IV THE BEAUTY OF FINE ART

IV A. THE BEAUTY OF VISUAL FORM

I

IN what consists the Beauty of Visual Form? The older writers on what we now know as the science of art did not ask themselves this question. Although we are accustomed to hear that order, symmetry, unity in variety, was the Greek, and in particular the Platonic, formula for beauty, we observe, on examining the pa.s.sages cited in evidence, that it is rather the moral quality appertaining to these characteristics that determines them as beautiful; symmetry is beautiful, because harmonious, and inducing order and self-restraint. Aristotle's single p.r.o.nouncement in the sense of our question is the dictum: there is no beauty without a certain magnitude. Lessing, in his "Laoc.o.o.n," really the first modern treatise in aesthetics, discusses the excellences of painting and poetry, but deals with visible beauty as if it were a fixed quality, understood when referred to, like color. This is undoubtedly due to his unconscious reference of beauty to the human form alone; a reference which he would have denied, but which influences his whole aesthetic theory. In speaking of a beautiful picture, for instance, he would have meant first of all the representation of beautiful persons in it, hardly at all that essential beauty of the picture as painting, to which every inch of the canvas is alike precious. It is clear to us now, however, that the beauty of the human form is the most obscure of all possible cases, complex in itself, and overlaid and involved as it is with innumerable interests and motives of extra-aesthetic character. Beauty in simple forms must be our first study; and great credit is due to Hogarth for having propounded in his "a.n.a.lysis of Beauty" the simple question,--what makes the quality of beauty to the eye?

But in visible beauty, the aesthetic value of pure form is not the only element involved: or at least is must be settled whether or not it is the only element involved. If in a work of art, as we believe, what belongs to its excellence belongs to its beauty, we may not applaud one painter, for instance, for his marvelous color-schemes, another for his expression of emotion, another for his delineation of character, without acknowledging that expression of character and emotion come within our concept of visible beauty. Franz von Lenbach was once asked what he thought likely to be the fate of his own work. "As for that," he replied, "I think I may possibly have a chance of living; but ONLY if Individualization or Characterization be deemed to const.i.tute a quality of permanent value in a picture. This, however, I shall never know, for it can only be adjudged by posterity.

If that verdict should prove unfavorable, then my work, too, will perish with the rest,--for it cannot compare on their lines with the great masters of the past." That this is indeed an issue is shown by the contrasting opinion of the critic who exclaimed before a portrait, "Think away the head and face, and you will have a wonderful effect of color!"

The a.n.a.lysis of visible beauty accordingly resolves itself into the explanation of the beauty of form (including shape and color) and the fixing in relation thereto of other factors.

The most difficult part of our task is indeed behind us. We have already defined Beauty in general: we have outlined in a preceding essay the abstract aesthetic demands, and we have now only to ask through what psychological means these demands can be and are in fact met. In other words we have to show that what we intensely feel as Beauty can and does exemplify these principles, and through them is explained and accounted for. Beauty has been defined as that combination of qualities in the object which brings about a union of stimulation and repose in the enjoyer. How must this be interpreted with reference to the particular facts of visual form?

The most immediate reference is naturally to the sense organ itself; and the first question is therefore as to the favorable stimulations of the eye. What, in general, does the eye demand of its object?