Of Beauty.
REVIEW OF BEAUTY OF DAILY LIFE.
1. Beauty chiefly affects the sense of sight. Still, the ear perceives it also, both in the harmony of words, and in the different kinds of music; for songs and verses are equally beautiful. On rising from the domain of the senses to a superior region, we also discover beauty in occupations, actions, habits, sciences and virtues. Whether there exists a type of beauty still higher, will have to be ascertained by discussion.
PROBLEMS CONCERNING HIGHER BEAUTY.
What is the cause that certain bodies seem beautiful, that our ears listen with pleasure to rhythms judged beautiful, and that we love the purely moral beauties? Does the beauty of all these objects derive from some unique, immutable principle, or will we recognize some one principle of beauty for the body, and some other for something else? What then are these principles, if there are several? Or which is this principle, if there is but one?
WHAT IS THE PRINCIPLE BY PARTICIPATION IN WHICH THE BODY IS BEAUTIFUL?
First, there are certain objects, such as bodies, whose beauty exists only by participation, instead of being inherent in the very essence of the subject. Such are beautiful in themselves, as is, for example, virtue. Indeed, the same bodies seem beautiful at one time, while at another they lack beauty; consequently, there is a great difference between being a body and being beautiful. What then is the principle whose presence in a body produces beauty therein? What is that element in the bodies which moves the spectator, and which attracts, fixes and charms his glances? This is the first problem to solve; for, on finding this principle, we shall use it as a means to resolve other questions.
POLEMIC AGAINST SYMMETRY, THE STOIC DEFINITION OF BEAUTY.
(The Stoics), like almost everybody, insist that visual beauty consists in the proportion of the parts relatively to each other and to the whole, joined to the grace of colors. If then, as in this case, the beauty of bodies in general consists in the symmetry and just proportion of their parts, beauty could not consist of anything simple, and necessarily could not appear in anything but what was compound. Only the totality will be beautiful; the parts by themselves will possess no beauty; they will be beautiful only by their relation with the totality. Nevertheless, if the totality is beautiful, it would seem also necessary that the parts be beautiful; for indeed beauty could never result from the assemblage of ugly things. Beauty must therefore be spread among all the parts. According to the same doctrine, the colors which, like sunlight, are beautiful, are beautiful but simple, and those whose beauty is not derived from proportion, will also be excluded from the domain of beauty. According to this hypothesis, how will gold be beautiful? The brilliant lightning in the night, even the stars, would not be beautiful to contemplate. In the sphere of sounds, also, it would be necessary to insist that what is simple possesses no beauty. Still, in a beautiful harmony, every sound, even when isolated, is beautiful. While preserving the same proportions, the same countenance seems at one time beautiful, and at another ugly. Evidently, there is but one conclusion: namely, that proportion is not beauty itself, but that it derives its beauty from some superior principle. (This will appear more clearly from further examples). Let us examine occupations and utterances. If also their beauty depended on proportion, what would be the function of proportion when considering occupations, laws, studies and sciences? Relations of proportion could not obtain in scientific speculations; no, nor even in the mutual agreement of these speculations. On the other hand, even bad things may show a certain mutual agreement and harmony; as, for instance, were we to assert that wisdom is softening of the brain, and that justice is a generous folly. Here we have two revoltingly absurd statements, which agree perfectly, and harmonize mutually. Further, every virtue is a soul-beauty far truer than any that we have till now examined; yet it could not admit of proportion, as it involves neither size nor number. Again, granting that the soul is divided into several faculties, who will undertake to decide which combination of these faculties, or of the speculations to which the soul devotes itself, will produce beauty? Moreover (if beauty is but proportion), what beauty could be predicated of pure intelligence?
BEAUTY CONSISTS IN KINSHIP TO THE SOUL.
2. Returning to our first consideration, we shall examine the nature of the element of beauty in bodies. It is something perceivable at the very first glance, something which the soul recognizes as kindred, and sympathetic to her own nature, which she welcomes and assimilates. But as soon as she meets an ugly object, she recoils, repudiates it, and rejects it as something foreign, towards which her real nature feels antipathy. That is the reason why the soul, being such as it is, namely, of an essence superior to all other beings, when she perceives an object kindred to her own nature, or which reveals only some traces of it, rejoices, is transported, compares this object with her own nature, thinks of herself, and of her intimate being as it would be impossible to fail to perceive this resemblance.
BEAUTY CONSISTS IN PARTICIPATION IN A FORM.
How can both sensible and intelligible objects be beautiful? Because, as we said, sensible objects participate in a form. While a shapeless object, by nature capable of receiving shape (physical) and form (intelligible), remains without reason or form, it is ugly. That which remains completely foreign to all divine reason (a reason proceeding from the universal Soul), is absolute ugliness. Any object should be considered ugly which is not entirely molded by informing reason, the matter, not being able to receive perfectly the form (which the Soul gives it). On joining matter, form co-ordinates the different parts which are to compose unity, combines them, and by their harmony produces something which is a unit. Since (form) is one, that which it fashions will also have to be one, as far as a composite object can be one. When such an object has arrived at unity, beauty resides in it, and it communicates itself to the parts as well as to the whole. When it meets a whole, the parts of which are perfectly similar, it interpenetrates it evenly. Thus it would show itself now in an entire building, then in a single stone, later in art-products as well as in the works of nature. Thus bodies become beautiful by communion with (or, participation in) a reason descending upon it from the divine (universal Soul).
THE SOUL APPRECIATES THE BEAUTIFUL BY AN AESTHETIC SENSE.
3. The soul appreciates beauty by an especially ordered faculty, whose sole function it is to appreciate all that concerns beauty, even when the other faculties take part in this judgment. Often the soul makes her (aesthetic) decisions by comparison with the form of the beautiful which is within her, using this form as a standard by which to judge. But what agreement can anything corporeal have with what is incorporeal? For example, how can an architect judge a building placed before him as beautiful, by comparing it with the Idea which he has within himself? The only explanation can be that, on abstracting the stones, the exterior object is nothing but the interior form, no doubt divided within the extent of the matter, but still one, though manifested in the manifold? When the senses perceive in an object the form which combines, unites and dominates a substance which lacks shape, and therefore is of a contrary nature; and if they also perceive a shape which distinguishes itself from the other shapes by its elegance, then the soul, uniting these multiple elements, fuses them, comparing them to the indivisible form which she bears within herself, then she pronounces their agreement, kinship and harmony with that interior type.
INSTANCES OF CORRESPONDENCE OF OUTER SENSE BEAUTY WITH ITS IDEA.
Thus a worthy man, perceiving in a youth the character of virtue, is agreeably impressed, because he observes that the youth harmonizes with the true type of virtue which he bears within himself. Thus also the beauty of color, though simple in form, reduces under its sway that obscurity of matter, by the presence of the light, which is something incorporeal, a reason, and a form. Likewise, fire surpasses all other bodies in beauty, because it stands to all other elements in the relation of a form; it occupies the highest regions; it is the subtlest of bodies because it most approaches the incorporeal beings; without permitting itself to be penetrated by other bodies, it penetrates them all; without itself cooling, it communicates to them its heat; by its own essence it possesses color, and communicates it to others; it shines and coruscates, because it is a form. The body in which it does not dominate, shows but a discolored hue, and ceases being beautiful, merely because it does not participate in the whole form of color. Once more, thus do the hidden harmonies of sound produce audible harmonies, and also yield to the soul the idea of beauty, though showing it in another order of things. Audible harmonies can be expressed in numbers; not indeed in any kind of numbers, but only in such as can serve to produce form, and to make it dominate.
TRANSITION FROM SENSE BEAUTY TO INTELLECTUAL BEAUTY.
So much then for sense-beauties which, descending on matter like images and shadows, beautify it and thereby compel our admiration. 4. Now we shall leave the senses in their lower sphere, and we shall rise to the contemplation of the beauties of a superior order, of which the senses have no intuition, but which the soul perceives and expresses.
INTERIOR BEAUTIES COULD NOT BE APPRECIATED WITHOUT AN INTERIOR MODEL.
Just as we could not have spoken of sense-beauties if we had never seen them, nor recognized them as such, if, in respect to them, we had been similar to persons born blind, likewise we would not know enough to say anything about the beauty either of the arts or sciences, or of anything of the kind, if we were not already in possession of this kind of beauty; nor of the splendor of virtue, if we had not contemplated the (”golden) face of Justice,” and of temperance, before whose splendor the morning and evening stars grow pale.
MORAL BEAUTIES MORE DELIGHTFUL THAN SENSE-BEAUTIES.
To see these beauties, they must be contemplated by the faculty our soul has received; then, while contemplating them, we shall experience far more pleasure, astonishment and admiration, than in contemplation of the sense-beauties, because we will have the intuition of veritable beauties. The sentiments inspired by beauty are admiration, a gentle charm, desire, love, and a pleasurable impulse.
THEY WHO FEEL THESE SENTIMENTS MOST KEENLY ARE CALLED LOVERS.
Such are the sentiments for invisible beauties which should be felt, and indeed are experienced by all souls, but especially by the most loving. In the presence of beautiful bodies, all indeed see them; but not all are equally moved. Those who are most moved are designated “lovers.”
THE CAUSE OF THESE EMOTIONS IS THE INVISIBLE SOUL.
5. Let us now propound a question about experiences to these men who feel love for incorporeal beauties. What do you feel in presence of the noble occupations, the good morals, the habits of temperance, and in general of virtuous acts and sentiments, and of all that constitutes the beauty of souls? What do you feel when you contemplate your inner beauty? What is the source of your ecstasies, or your enthusiasms? Whence come your desires to unite yourselves to your real selves, and to refresh yourselves by retirement from your bodies? Such indeed are the experiences of those who love genuinely. What then is the object which causes these, your emotions? It is neither a figure, nor a color, nor any size; it is that (colorless) invisible soul, which possesses a wisdom equally invisible; this soul in which may be seen shining the splendor of all the virtues, when one discovers in oneself, or contemplates in others, the greatness of character, the justice of the heart, the pure temperance, the imposing countenance of valor, dignity and modesty, proceeding alone firmly, calmly, and imperturbably; and above all, intelligence, resembling the divinity, by its brilliant light. What is the reason that we declare these objects to be beautiful, when we are transported with admiration and love for them? They exist, they manifest themselves, and whoever beholds them will never be able to restrain himself from confessing them to be veritable beings. Now what are these genuine beings? They are beautiful.
LOVE OF BEAUTY EXPLAINED BY AVERSION FOR OPPOSITE.
But reason is not yet satisfied; reason wonders why these veritable beings give the soul which experiences them the property of exciting love, from which proceeds this halo of light which, so to speak, crowns all virtues. Consider the things contrary to these beautiful objects, and with them compare what may be ugly in the soul. If we can discover of what ugliness consists, and what is its cause, we shall have achieved an important element of the solution we are seeking. Let us picture to ourselves an ugly soul; she will be given up to intemperance; and be unjust, abandoned to a host of passions, troubled, full of fears caused by her cowardliness, and of envy by her degradation; she will be longing only for vile and perishable things; she will be entirely depraved, will love nothing but impure wishes, will have no life but the sensual, and will take pleasure in her turpitude. Would we not explain such a state by saying that under the very mask of beauty turpitude had invaded this soul, brutalized her, soiled her with all kinds of vices, rendering her incapable of a pure life, and pure sentiments, and had reduced her to an existence obscure, infected with evil, poisoned by lethal germs; that it had hindered her from contemplating anything she should, forcing her to remain solitary, because it misled her out from herself towards inferior and gloomy regions? The soul fallen into this state of impurity, seized with an irresistible inclination towards the things of sense, absorbed by her intercourse with the body, sunk into matter, and having even received it within herself, has changed form by her admixture with an inferior nature. Not otherwise would be a man fallen into slimy mud, who no longer would present to view his primitive beauty, and would exhibit only the appearance of the mud that had defiled him; his ugliness would be derived from something foreign; and to recover his pristine beauty he would have to wash off his defilement, and by purification be restored to what he once was.
UGLINESS IS ONLY A FOREIGN ACCRETION.
We have the right to say that the soul becomes ugly by mingling with the body, confusing herself with it, by inclining herself towards it. For a soul, ugliness consists in being impure, no longer unmingled, like gold tarnished by particles of earth. As soon as this dross is removed, and nothing but gold remains, then again it is beautiful, because separated from every foreign body, and is restored to its unique nature. Likewise the soul, released from the passions begotten by her intercourse with the body when she yields herself too much to it, delivered from exterior impressions, purified from the blemishes contracted from her alliance with the body — that is, reduced to herself, she lays aside that ugliness which is derived from a nature foreign to her.
VIRTUES ARE ONLY PURIFICATIONS.
6. Thus, according to the ancient (Platonic or Empedoclean) maxim, “courage, temperance, all the virtues, nay, even prudence, are but purifications.” The mysteries were therefore wise in teaching that the man who has not been purified will, in hell, dwell at the bottom of a swamp; for everything that is not pure, because of its very perversity, delights in mud, just as we see the impure swine wallow in the mud with delight. And indeed, what would real temperance consist of, if it be not to avoid attaching oneself to the pleasures of the body, and to flee from them as impure, and as only proper for an impure being? What else is courage, unless no longer to fear death, which is mere separation of the soul from the body? Whoever therefore is willing to withdraw from the body could surely not fear death. Magnanimity is nothing but scorn of things here below. Last, prudence is the thought which, detached from the earth, raises the soul to the intelligible world. The purified soul, therefore, becomes a form, a reason, an incorporeal and intellectual essence; she belongs entirely to the divinity, in whom resides the source of the beautiful, and of all the qualities which have affinity with it.
THE SOUL’S WELFARE IS TO RESEMBLE THE DIVINITY.
Restored to intelligence, the soul sees her own beauty increase; indeed, her own beauty consists of the intelligence with its ideas; only when united to intelligence is the soul really isolated from all the remainder. That is the reason that it is right to say that “the soul’s welfare and beauty lie in assimilating herself to the divinity,” because it is the principle of beauty and of the essences; or rather, being is beauty, while the other nature (non-being, matter), is ugliness. This is the First Evil, evil in itself, just as that one (the First Principle) is the good and the beautiful; for good and beauty are identical. Consequently, beauty or good, and evil or ugliness, are to be studied by the same methods. The first rank is to be assigned to beauty, which is identical with the good, and from which is derived the intelligence which is beautiful by itself. The soul is beautiful by intelligence, then, the other things, like actions, and studies, are beautiful by the soul which gives them a form. It is still the soul which beautifies the bodies to which is ascribed this perfection; being a divine essence, and participating in beauty, when she seizes an object, or subjects it to her dominion, she gives to it the beauty that the nature of this object enables it to receive.
APPROACH TO THE GOOD CONSISTS IN SIMPLIFICATION.
We must still ascend to the Good to which every soul aspires. Whoever has seen it knows what I still have to say, and knows the beauty of the Good. Indeed, the Good is desirable for its own sake; it is the goal of our desires. To attain it, we have to ascend to the higher regions, turn towards them, and lay aside the garment which we put on when descending here below; just as, in the (Eleusynian, or Isiac) mysteries, those who are admitted to penetrate into the recesses of the sanctuary, after having purified themselves, lay aside every garment, and advance stark naked.
THE SUPREME PURPOSE OF LIFE IS THE ECSTATICAL VISION OF GOD.
7. Thus, in her ascension towards divinity, the soul advances until, having risen above everything that is foreign to her, she alone with Him who is alone, beholds, in all His simplicity and purity, Him from whom all depends, to whom all aspires, from whom everything draws its existence, life and thought. He who beholds him is overwhelmed with love; with ardor desiring to unite himself with Him, entranced with ecstasy. Men who have not yet seen Him desire Him as the Good; those who have, admire Him as sovereign beauty, struck simultaneously with stupor and pleasure, thrilling in a painless orgasm, loving with a genuine emotion, with an ardor without equal, scorning all other affections, and disdaining those things which formerly they characterized as beautiful. This is the experience of those to whom divinities and guardians have appeared; they reck no longer of the beauty of other bodies. Imagine, if you can, the experiences of those who behold Beauty itself, the pure Beauty, which, because of its very purity, is fleshless and bodiless, outside of earth and heaven. All these things, indeed are contingent and composite, they are not principles, they are derived from Him. What beauty could one still wish to see after having arrived at vision of Him who gives perfection to all beings, though himself remains unmoved, without receiving anything; after finding rest in this contemplation, and enjoying it by becoming assimilated to Him? Being supreme beauty, and the first beauty, He beautifies those who love Him, and thereby they become worthy of love. This is the great, the supreme goal of souls; this is the goal which arouses all their efforts, if they do not wish to be disinherited of that sublime contemplation the enjoyment of which confers blessedness, and privation of which is the greatest of earthly misfortunes. Real misfortune is not to lack beautiful colors, nor beautiful bodies, nor power, nor domination, nor royalty. It is quite sufficient to see oneself excluded from no more than possession of beauty. This possession is precious enough to render worthless domination of a kingdom, if not of the whole earth, of the sea, or even of the heavens — if indeed it were possible, while abandoning and scorning all that (natural beauty), to succeed in contemplating beauty face to face.
THE METHOD TO ACHIEVE ECSTASY IS TO CLOSE THE EYES OF THE BODY.
8. How shall we start, and later arrive at the contemplation of this ineffable beauty which, like the divinity in the mysteries, remains hidden in the recesses of a sanctuary, and does not show itself outside, where it might be perceived by the profane? We must advance into this sanctuary, penetrating into it, if we have the strength to do so, closing our eyes to the spectacle of terrestrial things, without throwing a backward glance on the bodies whose graces formerly charmed us. If we do still see corporeal beauties, we must no longer rush at them, but, knowing that they are only images, traces and adumbrations of a superior principle, we will flee from them, to approach Him of whom they are merely the reflections. Whoever would let himself be misled by the pursuit of those vain shadows, mistaking them for realities, would grasp only an image as fugitive as the fluctuating form reflected by the waters, and would resemble that senseless (Narcissus) who, wishing to grasp that image himself, according to the fable, disappeared, carried away by the current. Likewise he would wish to embrace corporeal beauties, and not release them, would plunge, not his body, but his soul into the gloomy abysses, so repugnant to intelligence; he would be condemned to total blindness; and on this earth, as well as in hell, he would see naught but mendacious shades.
HOW TO FLY TO OUR FATHERLAND.
This indeed is the occasion to quote (from Homer) with peculiar force, “Let us fly unto our dear fatherland!” But how shall we fly? How escape from here? is the question Ulysses asks himself in that allegory which represents him trying to escape from the magic sway of Circe or Calypso, where neither the pleasure of the eyes, nor the view of fleshly beauty were able to hold him in those enchanted places. Our fatherland is the region whence we descend here below. It is there that dwells our Father. But how shall we return thither? What means shall be employed to return us thither? Not our feet, indeed; all they could do would be to move us from one place of the earth to another. Neither is it a chariot, nor ship which need be prepared. All these vain helps must be left aside, and not even considered. We must close the eyes of the body, to open another vision, which indeed all possess, but very few employ.
HOW TO TRAIN THIS INTERIOR VISION.
9. But how shall we train this interior vision? At the moment of its (first) awakening, it cannot contemplate beauties too dazzling. Your soul must then first be accustomed to contemplate the noblest occupations of man, and then the beautiful deeds, not indeed those performed by artists, but those (good deeds) done by virtuous men. Later contemplate the souls of those who perform these beautiful actions. Nevertheless, how will you discover the beauty which their excellent soul possesses? Withdraw within yourself, and examine yourself. If you do not yet therein discover beauty, do as the artist, who cuts off, polishes, purifies until he has adorned his statue with all the marks of beauty. Remove from your soul, therefore, all that is superfluous, straighten out all that is crooked, purify and illuminate what is obscure, and do not cease perfecting your statue until the divine resplendence of virtue shines forth upon your sight, until you see temperance in its holy purity seated in your breast. When you shall have acquired this perfection; when you will see it in yourself; when you will purely dwell within yourself; when you will cease to meet within yourself any obstacle to unity; when nothing foreign will any more, by its admixture, alter the simplicity of your interior essence; when within your whole being you will be a veritable light, immeasurable in size, uncircumscribed by any figure within narrow boundaries, unincreasable because reaching out to infinity, and entirely incommensurable because it transcends all measure and quantity; when you shall have become such, then, having become sight itself, you may have confidence in yourself, for you will no longer need any guide. Then must you observe carefully, for it is only by the eye that then will open itself within you that you will be able to perceive supreme Beauty. But if you try to fix on it an eye soiled by vice, an eye that is impure, or weak, so as not to be able to support the splendor of so brilliant an object, that eye will see nothing, not even if it were shown a sight easy to grasp. The organ of vision will first have to be rendered analogous and similar to the object it is to contemplate. Never would the eye have seen the sun unless first it had assumed its form; likewise, the soul could never see beauty, unless she herself first became beautiful. To obtain the view of the beautiful, and of the divinity, every man must begin by rendering himself beautiful and divine.
THE LANDMARKS OF THE PATH TO ECSTASY.
Thus he will first rise to intelligence, and he will there contemplate beauty, and declare that all this beauty resides in the Ideas. Indeed, in them everything is beautiful, because they are the daughters and the very essence of Intelligence.
Above intelligence, he will meet Him whom we call the nature of the Good, and who causes beauty to radiate around Him; so that, to repeat, the first thing that is met is beauty. If a distinction is to be established among the intelligibles, we might say that intelligible beauty is the locus of ideas, and that the Good, which is located above the Beautiful, is its source and principle. If, however, we desire to locate the Good and the Beautiful within one single principle, we might regard this one principle first as Good, and only afterwards, as Beauty.