Laurus Nobilis Part 2

IV.

And here comes in the immense importance of Art as a type of pleasure: of Art in the sense of aesthetic appreciation even more than of aesthetic creation; of Art considered as the extracting and combining of beauty in the mind of the obscure layman quite as much as the embodiment of such extracted and combined beauty in the visible or audible work of the great artist.

For experience of true aesthetic activity must teach us, in proportion as it is genuine and ample, that the enjoyment of the beautiful is not merely independent of, but actually incompatible with, that tendency to buy our satisfaction at the expense of others which remains more or less in all of us as a survival from savagery. The reasons why genuine aesthetic feeling inhibits these obsolescent instincts of rapacity and ruthlessness, are reasons negative and positive, and may be roughly divided into three headings. Only one of them is generally admitted to exist, and of it, therefore, I shall speak very briefly, I mean the fact that the enjoyment of beautiful things is originally and intrinsically one of those which are heightened by sharing. We know it instinctively when, as children, we drag our comrades and elders to the window when a regiment pa.s.ses or a circus parades by; we learn it more and more as we advance in life, and find that we must get other people to see the pictures, to hear the music, to read the books which we admire. It is a case of what psychologists call the _contagion of emotion_, by which the feeling of one individual is strengthened by the expression of similar feeling in his neighbour, and is explicable, most likely, by the fact that the greatest effort is always required to overcome original inertness, and that two efforts, like two horses starting a carriage instead of one, combined give more than double the value of each taken separately. The fact of this aesthetic sociability is so obvious that we need not discuss it any further, but merely hold it over to add, at last, to the result of the two other reasons, negative and positive, which tend to make aesthetic enjoyment the type of unselfish, nay, even of altruistic pleasure.

V.

The first of these reasons, the negative one, is that aesthetic pleasure is not in the least dependent upon the fact of personal owners.h.i.+p, and that it therefore affords an opportunity of leaving inactive, of beginning to atrophy by inactivity, the pa.s.sion for exclusive possession, for individual advantage, which is at the bottom of all bad luxury, of all ostentation, and of nearly all rapacity. But before entering on this discussion I would beg my reader to call to mind that curious saying of Abbot Joachim's; and to consider that I wish to prove that, like his true monk, the true aesthete, who nowadays loves and praises creation much as the true monk did in former centuries, can really possess as sole personal possession only a musical instrument--to wit, his own well-strung and resonant soul.

Having said this, we will proceed to the question of Luxury, by which I mean the possession of such things as minister only to weakness and vanity, of such things as we cannot reasonably hope that all men may some day equally possess.

When we are young--and most of us remain mere withered children, never attaining maturity, in similar matters--we are usually attracted by luxury and luxurious living. We are possessed by that youthful instinct of union, fusion, marriage, so to speak, with what our soul desires; we hanker after close contact and complete possession; and we fancy, in our inexperience, that luxury, the acc.u.mulation of valuables, the appropriation of opportunities, the fact of rejecting from our life all that is not costly, brilliant, and dainty, implies such fusion of our soul with beauty.

But, as we reach maturity, we find that this is all delusion. We learn, from the experience of occasions when our soul has truly possessed the beautiful, or been possessed by it, that if such union with the harmony of outer things is rare, perhaps impossible, among squalor and weariness, it is difficult and anomalous in the condition which we ent.i.tle luxury.

We learn that our a.s.similation of beauty, and that momentary renewal of our soul which it effects, rarely arises from our own owners.h.i.+p; but comes, taking us by surprise, in presence of hills, streams, memories of pictures, poets' words, and strains of music, which are not, and cannot be, our property. The essential character of beauty is its being a relation between ourselves and certain objects. The emotion to which we attach its name is produced, motived by something outside us, pictures, music, landscape, or whatever it may be; but the emotion resides in us, and it is the emotion, and not merely its object, which we desire. Hence material possession has no aesthetic meaning. We possess a beautiful object with our soul; the possession thereof with our hands or our legal rights brings us no nearer the beauty. Owners.h.i.+p, in this sense, may empower us to destroy or hide the object and thus cheat others of the possession of its beauty, but does not help _us_ to possess that beauty. It is with beauty as with that singer who answered Catherine II., "Your Majesty's policemen can make me _scream_, but they cannot make me _sing_;" and she might have added, for my parallel, "Your policemen, great Empress, even could they make _me_ sing, would not be able to make _you_ hear."

VI.

Hence all strong aesthetic feeling will always prefer owners.h.i.+p of the mental image to owners.h.i.+p of the tangible object. And any desire for material appropriation or exclusive enjoyment will be merely so much weakening and adulteration of the aesthetic sentiment. Since the mental image, the only thing aesthetically possessed, is in no way diminished or damaged by sharing; nay, we have seen that by one of the most gracious coincidences between beauty and kindliness, the aesthetic emotion is even intensified by the knowledge of co-existence in others: the delight in each person communicating itself, like a musical third, fifth, or octave, to the similar yet different delight in his neighbour, harmonic enriching harmonic by stimulating fresh vibration.

If, then, we wish to possess casts, copies, or photographs of certain works of art, this is, aesthetically considered, exactly as we wish to have the means--railway tickets, permissions for galleries, and so forth--of seeing certain pictures or statues as often as we wish. For we feel that the images in our mind require renewing, or that, in combination with other more recently acquired images, they will, if renewed, yield a new kind of delight. But this is quite another matter from wis.h.i.+ng to own the material object, the thing we call _work of art itself_, forgetting that it is a work of art only for the soul capable of instating it as such.

Thus, in every person who truly cares for beauty, there is a necessary tendency to replace the illusory legal act of owners.h.i.+p by the real spiritual act of appreciation. Charles Lamb already expressed this delightfully in the essay on the old manor-house. Compared with his possession of its beauties, its walks, tapestried walls and family portraits, nay, even of the ghosts of former proprietors, the possession by the legal owner was utterly nugatory, unreal:

"Mine too, Blakesmoor, was thy n.o.ble Marble Hall, with its mosaic pavements, and its twelve Caesars;... mine, too, thy lofty Justice Hall, with its one chair of authority.... Mine, too--whose else?--thy costly fruit-garden ... thy ampler pleasure-garden ...

thy firry wilderness.... I was the true descendant of those old W----'s, and not the present family of that name, who had fled the old waste places."

How often have not some of us felt like that; and how much might not those of us who never have, learn, could they learn, from those words of Elia?

VII.

I have spoken of _material, actual_ possession. But if we look closer at it we shall see that, save with regard to the things which are actually consumed, destroyed, disintegrated, changed to something else in their enjoyment, the notion of ordinary possession is a mere delusion. It can be got only by a constant obtrusion of a mere idea, the _idea of self_, and of such unsatisfactory ideas as one's right, for instance, to exclude others. 'Tis like the tension of a muscle, this constant keeping the consciousness aware by repeating "Mine--mine--_mine_ and not _theirs_; not _theirs_, but _mine_." And this wearisome act of self-a.s.sertion leaves little power for appreciation, for the appreciation which others can have quite equally, and without which there is no reality at all in owners.h.i.+p.

Hence, the deeper our enjoyment of beauty, the freer shall we become of the dreadful delusion of exclusive appropriation, despising such unreal possession in proportion as we have tasted the real one. We shall know the two kinds of owners.h.i.+p too well apart to let ourselves be cozened into c.u.mbering our lives with material properties and their responsibilities. We shall save up our vigour, not for obtaining and keeping (think of the thousand efforts and cares of owners.h.i.+p, even the most negative) the things which yield happy impressions, but for receiving and storing up and making capital of those impressions. We shall seek to furnish our mind with beautiful thoughts, not our houses with pretty things.

VIII.

I hope I have made clear enough that aesthetic enjoyment is hostile to the unkind and wasteful pleasures of selfish indulgence and selfish appropriation, because the true possession of the beautiful things of Nature, of Art, and of thought is spiritual, and neither damages, nor diminishes, nor h.o.a.rds them; because the lover of the beautiful seeks for beautiful impressions and remembrances, which are vested in his soul, and not in material objects. That is the negative benefit of the love of the beautiful. Let us now proceed to the positive and active a.s.sistance which it renders, when genuine and thorough-paced, to such thought as we give to the happiness and dignity of others.

IX.

I have said that our pleasure in the beautiful is essentially a spiritual phenomenon, one, I mean, which deals with our own perceptions and emotions, altering the contents of our mind, while leaving the beautiful object itself intact and unaltered. This being the case, it is easy to understand that our aesthetic pleasure will be complete and extensive in proportion to the amount of activity of our soul; for, remember, all pleasure is proportionate to activity, and, as I said in my first chapter, great beauty does not merely _take us_, but _we_ must give _ourselves to it_. Hence, an increase in the capacity for aesthetic pleasure will mean, _caeeteris paribus_, an increase in a portion of our spiritual activity, a greater readiness to take small hints, to connect different items, to reject the lesser good for the greater. Moreover, a great, perhaps the greater, part of our aesthetic pleasure is due, as I also told you before, to the storing of impressions in our mind, and to the combining of them there with other impressions. Indeed, it is for this reason that I have made no difference, save in intensity between aesthetic creation, so called, and aesthetic appreciation; telling you, on the contrary, that the artistic layman creates, produces something new and personal, only in a less degree than the professed artist.

For the aesthetic life does not consist merely in the perception of the beautiful object, not merely in the emotion of that spiritual contact between the beautiful product of art or of nature and the soul of the appreciator: it is continued in the emotions and images and thoughts which are awakened by that perception; and the aesthetic life _is_ life, is something continuous and organic, just because new forms, however obscure and evanescent, are continually born, in their turn continually to give birth, of that marriage between the beautiful thing outside and the beautiful soul within.

Hence, full aesthetic life means the creating and extending of ever new harmonies in the mind of the layman, the unconscious artist who merely enjoys, as a result of the creating and extending of new harmonies in the work of the professed artist who consciously creates. This being the case, the true aesthete is for ever seeking to reduce his impressions and thoughts to harmony; and is for ever, accordingly, being pleased with some of them, and disgusted with others.

X.

The desire for beauty and harmony, therefore, in proportion as it becomes active and sensitive, explores into every detail, establishes comparisons between everything, judges, approves, and disapproves; and makes terrible and wholesome havoc not merely in our surroundings, but in our habits and in our lives. And very soon the mere thought of something ugly becomes enough to outweigh the actual presence of something beautiful. I was told last winter at San Remo, that the scent of the Parma violet can be distilled only by the oil of the flower being pa.s.sed through a layer of pork fat; and since that revelation violet essence has lost much of the charm it possessed for me: the thought of the suet counterbalanced the reality of the perfume.

Now this violet essence, thus obtained, is symbolic of many of the apparently refined enjoyments of our life. We shall find that luxury and pomp, delightful sometimes in themselves, are distilled through a layer of coa.r.s.e and repulsive labour by other folk; and the thought of the pork suet will spoil the smell of the violets. For the more dishes we have for dinner, the greater number of cooking-pots will have to be cleaned; the more carriages and horses we use, the more was.h.i.+ng and grooming will result; the more crowded our rooms with furniture and nicknacks, the more dust will have to be removed; the more numerous and delicate our clothes, the more brus.h.i.+ng and folding there will be; and the more purely ornamental our own existence, the less ornamental will be that of others.

There is a _pensee_ of Pascal's to the effect that a fop carries on his person the evidence of the existence of so many people devoted to his service. This thought may be delightful to a fop; but it is not pleasant to a mind sensitive to beauty and hating the bare thought of ugliness: for while vanity takes pleasure in lack of harmony between oneself and one's neighbour, aesthetic feeling takes pleasure only in harmonious relations. The thought of the servile lives devoted to make our life more beautiful counterbalances the pleasure of the beauty; 'tis the eternal question of the violet essence and the pork suet. Now the habit of beauty, the aesthetic sense, becomes, as I said, more and more sensitive and vivacious; you cannot hide from it the knowledge of every sort of detail, you cannot prevent its noticing the ugly side, the ugly lining of certain pretty things. 'Tis a but weak and sleepy kind of aestheticism which "blinks and shuts its apprehension up" at your bidding, which looks another way discreetly, and discreetly refrains from all comparisons. The real aesthetic activity _is_ an activity; it is one of the strongest and most imperious powers of human nature; it does not take orders, it only gives them. It is, when full grown, a kind of conscience of beautiful and ugly, a.n.a.logous to the other conscience of right and wrong, and it is equally difficult to silence. If you can silence your aesthetic faculty and bid it be satisfied with the lesser beauty, the lesser harmony, instead of the greater, be sure that it is a very rudimentary kind of instinct; and that you are no more thoroughly aesthetic than if you could make your sense of right and wrong be blind and dumb at your convenience, you could be thoroughly moral.

Hence, the more aesthetic we become, the less we shall tolerate such modes of living as involve dull and dirty work for others, as involve the exclusion of others from the sort of life which we consider aesthetically tolerable. We shall require such houses and such habits as can be seen, and, what is inevitable in all aesthetical development, as can also be _thought of_, in all their details. We shall require a h.o.m.ogeneous impression of decorum and fitness from the lives of others as well as from our own, from what we actually see and from what we merely know: the imperious demand for beauty, for harmony will be applied no longer to our mere material properties, but to that other possession which is always with us and can never be taken from us, the images and feelings within our soul. Now, that other human beings should be drudging sordidly in order that we may be idle and showy means a thought, a vision, an emotion which do not get on in our mind in company with the sight of sunset and sea, the taste of mountain air and woodland freshness, the faces and forms of Florentine saints and Antique G.o.ds, the serene poignancy of great phrases of music. This is by no means all. Developing in aesthetic sensitiveness we grow to think of ourselves also, our own preferences, moods and att.i.tudes, as more or less beautiful or ugly; the inner life falling under the same criticism as the outer one. We become aristocratic and epicurean about our desires and habits; we grow squeamish and impatient towards luxury, towards all kinds of monopoly and privilege on account of the mean att.i.tude, the graceless gesture they involve on our own part.

XI.

This feeling is increasing daily. Our deepest aesthetic emotions are, we are beginning to recognise, connected with things which we do not, cannot, possess in the vulgar sense. Nay, the deepest aesthetic emotions depend, to an appreciable degree, on the very knowledge that these things are either not such as money can purchase, or that they are within the purchasing power of all. The sense of being shareable by others, of being even shareable, so to speak, by other kinds of utility, adds a very keen attraction to all beautiful things and beautiful actions, and, of course, _vice versa_. And things which are beautiful, but connected with luxury and exclusive possession, come to affect one as, in a way, _lacking harmonics_, lacking those additional vibrations of pleasure which enrich impressions of beauty by impressions of utility and kindliness.

Thus, after enjoying the extraordinary lovely tints--oleander pink, silver-grey, and most delicate citron--of the plaster which covers the commonest cottages, the humblest chapels, all round Genoa, there is something _short and acid_ in the pleasure one derives from equally charming colours in expensive dresses. Similarly, in Italy, much of the charm of marble, of the sea-cave s.h.i.+mmer, of certain palace-yards and churches, is due to the knowledge that this lovely, n.o.ble substance is easy to cut and quarried in vast quant.i.ties hard by: no wretched rarity like diamonds and rubies, which diminish by the worth of a family's yearly keep if only the cutter cuts one hair-breadth wrong!

Again, is not one reason why antique sculpture awakens a state of mind where stoicism, humaneness, simplicity, seem nearer possibilities--is not one reason that it shows us the creature in its nakedness, in such beauty and dignity as it can get through the grace of birth only?

There is no need among the G.o.ds for garments from silken Samarkand, for farthingales of brocade and veils of Mechlin lace like those of the wooden Madonnas of Spanish churches; no need for the ruffles and plumes of Pascal's young beau, showing thereby the number of his valets. The same holds good of trees, water, mountains, and their representation in poetry and painting; their dignity takes no account of poverty or riches. Even the lilies of the field please us, not because they toil not neither do they spin, but because they do not require, while Solomon does, that other folk should toil and spin to make them glorious.

XII.

Again, do we not prefer the books which deal with habits simpler than our own? Do we not love the Odyssey partly because of Calypso weaving in her cave, and Nausicaa was.h.i.+ng the clothes with her maidens? Does it not lend additional divinity that Christianity should have arisen among peasants and handicraftsmen?

Nay more, do we not love certain objects largely because they are useful; boats, nets, farm carts, ploughs; discovering therein a grace which actually exists, but which might else have remained unsuspected?

And do we not feel a certain lack of significance and harmony of fulness of aesthetic quality in our persons when we pa.s.s in our idleness among people working in the fields, masons building, or fishermen cleaning their boats and nets; whatever beauty such things may have being enhanced by their being common and useful.

In this manner our aesthetic instinct strains vaguely after a double change: not merely giving affluence and leisure to others, but giving simplicity and utility to ourselves?

XIII.

And, even apart from this, does not all true aestheticism tend to diminish labour while increasing enjoyment, because it makes the already existing more sufficient, because it furthers the joys of the spirit, which multiply by sharing, as distinguished from the pleasures of vanity and greediness, which only diminish?

XIV.

You may at first feel inclined to pooh-pooh the notion that mere love of beauty can help to bring about a better distribution of the world's riches; and reasonably object that we cannot feed people on images and impressions which multiply by sharing; they live on bread, and not on the _idea_ of bread.

But has it ever struck you that, after all, the amount of material bread--even if we extend the word to everything which is consumed for bodily necessity and comfort--which any individual can consume is really very small; and that the bad distribution, the shocking waste of this material bread arises from being, so to speak, used symbolically, used as spiritual bread, as representing those _ideas_ for which men hunger: superiority over other folk, power of having dependants, social position, owners.h.i.+p, and privilege of all kinds?

For what are the bulk of worldly possessions to their owners: houses, parks, plate, jewels, superfluous expenditure of all kinds [and armies and navies when we come to national wastefulness]--what are all these ill-distributed riches save _ideas_, ideas futile and ungenerous, food for the soul, but food upon which the soul grows sick and corrupteth?

Would it not be worth while to reorganise this diet of ideas? To reorganise that part of us which is independent of bodily sustenance and health, which lives on spiritual commodities--the part of us including ambition, ideal, sympathy, and all that I have called _ideas_? Would it not be worth while to find such ideas as all people can live upon without diminis.h.i.+ng each other's share, instead of the _ideas_, the imaginative satisfactions which each must refuse to his neighbour, and about which, therefore, all of us are bound to fight like hungry animals? Thus to reform our notions of what is valuable and distinguished would bring about an economic reformation; or, if other forces were needed, would make the benefits of such economic reformation completer, its hards.h.i.+ps easier to bear; and, altering our views of loss and gain, lessen the destructive struggle of s.n.a.t.c.hing and holding.