Beauty & Art - A Collection of Essays. Vernon Lee

better, though that is no small gain, but we seem to understand better. Under the vitalising touch of the Beautiful, our consciousness seems filled with the affirmation of what life is, what is worth being, what among our many thoughts and acts and feelings are real and organic and important, what among the many possible moods is the real, eternal ourself.

      Such are the great forces of Nature gathered up in what we call the æsthetic phenomenon, and it is these forces of Nature which, stolen from heaven by the man of genius or the nation of genius, and welded together in music, or architecture, in the arts of visible design or of written thoughts, give to the great work of art its power to quicken the life of our soul.

      VII

      I hope I have been able to indicate how, by its essential nature, by the primordial power it embodies, all Beauty, and particularly Beauty in art, tends to fortify and refine the spiritual life of the individual.

      But this is only half of the question, for, in order to get the full benefit of beautiful things and beautiful thoughts, to obtain in the highest potency those potent æsthetic emotions, the individual must undergo a course of self-training, of self-initiation, which in its turn elicits and improves some of the highest qualities of his soul. Nay, as every great writer on art has felt, from Plato to Ruskin, but none has expressed as clearly as Mr. Pater, in all true æsthetic training there must needs enter an ethical element, almost an ascetic one.

      The greatest art bestows pleasure just in proportion as people are capable of buying that pleasure at the price of attention, intelligence, and reverent sympathy. For great art is such as is richly endowed, full of variety, subtlety, and suggestiveness; full of delightfulness enough for a lifetime, the lifetime of generations and generations of men; great art is to its true lovers like Cleopatra to Antony—"age cannot wither it, nor custom stale its infinite variety." Indeed, when it is the greatest art of all, the art produced by the marvellous artist, the most gifted race, and the longest centuries, we find ourselves in presence of something which, like Nature itself, contains more beauty, suggests more thought, works more miracles than anyone of us has faculties to appreciate fully. So that, in some of Titian's pictures and Michael Angelo's frescoes, the great Greek sculptures, certain cantos of Dante and plays of Shakespeare, fugues of Bach, scenes of Mozart and quartets of Beethoven, we can each of us, looking our closest, feeling our uttermost, see and feel perhaps but a trifling portion of what there is to be seen and felt, leaving other sides, other perfections, to be appreciated by our neighbours. Till it comes to pass that we find different persons very differently delighted by the same masterpiece, and accounting most discrepantly for their delight in it.

      Now such pleasure as this requires not merely a vast amount of activity on our part, since all pleasure, even the lowest, is the expression of an activity; it requires a vast amount of attention, of intelligence, of what, in races or in individuals, means special training.

      VIII

      There is a sad confusion in men's minds on the very essential subject of pleasure. We tend, most of us, to oppose the idea of pleasure to the idea of work, effort, strenuousness, patience; and, therefore, recognise as pleasures only those which cost none of these things, or as little as possible; pleasures which, instead of being produced through our will and act, impose themselves upon us from outside. In all art—for art stands half-way between the sensual and emotional experiences and the experiences of the mere reasoning intellect—in all art there is necessarily an element which thus imposes itself upon us from without, an element which takes and catches us: colour, strangeness of outline, sentimental or terrible quality, rhythm exciting the muscles, or clang which tickles the ear. But the art which thus takes and catches our attention the most easily, asking nothing in return, or next to nothing, is also the poorest art: the oleograph, the pretty woman in the fashion plate, the caricature, the representation of some domestic or harrowing scene, children being put to bed, babes in the wood, railway accidents, etc.; or again, dance or march music, and the equivalents of all this in verse. It catches your attention, instead of your attention conquering it; but it speedily ceases to interest, gives you nothing more, cloys, or comes to a dead stop. It resembles thus far mere sensual pleasure, a savoury dish, a glass of good wine, an excellent cigar, a warm bed, which impose themselves on the nerves without expenditure of attention; with the result, of course, that little or nothing remains, a sensual impression dying, so to speak, childless, a barren, disconnected thing, without place in the memory, unmarried as it is to the memory's clients, thought and human feeling.

      If so many people prefer poor art to great, 'tis because they refuse to give, through inability or unwillingness, as much of their soul as great art requires for its enjoyment. And it is noticeable that busy men, coming to art for pleasure when they are too weary for looking, listening, or thinking, so often prefer the sensation-novel, the music-hall song, and such painting as is but a costlier kind of oleograph; treating all other art as humbug, and art in general as a trifle wherewith to wile away a lazy moment, a trifle about which every man can know what he likes best.

      Thus it is that great art makes, by coincidence, the same demands as noble thinking and acting. For, even as all noble sports develop muscle, develop eye, skill, quickness and pluck in bodily movement, qualities which are valuable also in the practical business of life; so also the appreciation of noble kinds of art implies the acquisition of habits of accuracy, of patience, of respectfulness, and suspension of judgment, of preference of future good over present, of harmony and clearness, of sympathy (when we come to literary art), judgment and kindly fairness, which are all of them useful to our neighbours and ourselves in the many contingencies and obscurities of real life. Now this is not so with the pleasures of the senses: the pleasures of the senses do not increase by sharing, and sometimes cannot be shared at all; they are, moreover, evanescent, leaving us no richer; above all, they cultivate in ourselves qualities useful only for that particular enjoyment. Thus, a highly discriminating palate may have saved the life of animals and savages, but what can its subtleness do nowadays beyond making us into gormandisers and winebibbers, or, at best, into cooks and tasters for the service of gormandising and winebibbing persons?

      IX

      Delight in beautiful things and in beautiful thoughts requires, therefore, a considerable exercise of the will and the attention, such as is not demanded by our lower enjoyments. Indeed, it is probably this absence of moral and intellectual effort which recommends such lower kinds of pleasure to a large number of persons. I have said lower kinds of pleasure, because there are other enjoyments besides those of the senses which entail no moral improvement in ourselves: the enjoyments connected with vanity and greed. We should not—even if any of us could be sure of being impeccable on these points—we should not be too hard on the persons and the classes of persons who are conscious of no other kind of enjoyment. They are not necessarily base, not necessarily sensual or vain, because they care only for bodily indulgence, for notice and gain. They are very likely not base, but only apathetic, slothful, or very tired. The noble sport, the intellectual problem, the great work of art, the divinely beautiful effect in Nature, require that one should give oneself; the French-cooked dinner as much as the pot of beer; the game of chance, whether with clean cards at a club or with greasy ones in a tap-room; the outdoing of one's neighbours, whether by the ragged heroes of Zola or the well-groomed heroes of Balzac, require no such coming forward of the soul: they take us, without any need for our giving ourselves. Hence, as I have just said, the preference for them does not imply original baseness, but only lack of higher energy. We can judge of the condition of those who can taste no other pleasures by remembering what the best of us are when we are tired or ill: vaguely craving for interests, sensations, emotions, variety, but quite unable to procure them through our own effort, and longing for them to come to us from without. Now, in our still very badly organised world, an enormous number of people are condemned by the tyranny of poverty or the tyranny of fashion, to be, when the day's work or the day's business is done, in just such a condition of fatigue and languor, of craving, therefore, for the baser kinds of pleasure. We all recognise that this is the case with what we call poor people, and that this is why poor people are apt to prefer the public-house to the picture gallery or the concert-room. It would be greatly to the purpose were we to acknowledge