Читать книгу The Continental Monthly, Vol. 4, No. 1, July, 1863 - Various - Страница 3

The Divine Attributes are the base of all true Art

No work of art can be considered truly beautiful unless it recalls or reproduces, even in its finite form, some of the divine attributes; not that the work must treat of them, or consciously suggest them to the intellect, but that they must enter into the creation of the artist, that the immediate and intuitive perception of beauty, always attached to their manifestation, may appeal to those faculties or instincts which ever answer in delight when these attributes are suggested to the human spirit; for, consciously or unconsciously, the soul yearns for a clearer view of the beauty of God.

Whatever good there may be desirable by man, more especially good belonging to his moral nature, there will be a corresponding agreeableness in whatever external object reminds him of such good, whether it remind him by arbitrary association, by typical resemblance, or by awakening intuitions of the divine attributes, which he was created to glorify and to enjoy eternally. Leibnitz says:

'The perfections of God are those of our own souls, but He possesses them without limit; He is the exhaustless ocean from which we have received but a drop; we have some power, some wisdom, some love; but God is all power, all wisdom, all love. Order, unity, proportion, harmony, enchant us; painting, sculpture, music, poetry, charm us in the degree in which, in their appropriate spheres, they have succeeded in manifesting fragments of the above: but God is all order, all proportion, all unity, all harmony; and all beauty visible here is but a dim reflex of the eternal rays.'

The fact of our deriving constant pleasure from whatever is a type or semblance of the divine attributes, and from nothing enduringly but that which is, is the most ennobling of all that can be said of human nature, not only setting a great gulf of specific separation between us and the brutes that perish, but it seems a promise of a communion ultimately deep, close, and conscious with the Being in whose darkened manifestations we here unconsciously and instinctively delight. It is at least probable that the higher the order of intelligences, the more of the divine image becomes palpable in all around them, and the redeemed spirits and angels may have perceptions as much more full and rapturous than ours, as ours than those of the beasts and creeping things. It may be received almost as an axiom that no natural instinct or desire can be entirely frustrated, and as these desires for the beautiful are so unfailing that they have not escaped the thinkers of any age, but were held divine of old, and even in heathen countries, it must be admitted that in these visionary pleasures, lightly as we may now be disposed to regard them, there are causes of gratitude, grounds of hope, anchors of faith, more than in all the manifold material gifts with which God mercifully crowns the years and hedges the path of men.

We turn to Plato to show how clearly such ideas were held by the thinkers of antiquity:

'Eternal beauty, not created, not made; exempt from increase or decay; not beautiful in one part and deformed in another, beautiful in such a time, such a place, such a relation; not beauty which hath any sensible parts or anything corporeal, or which may be found comprised in any one thought or science, or residing in any creation different from itself, as in an animal, the earth, or the heavens;—but absolute beauty, identical and invariable in itself; beauty in which, would they please the spirit of men, other things must participate, but their creation or destruction brings IT neither diminution, increase, nor the slightest change.'

Plotinus writes in the same spirit:

'Let him who has closed his eyes upon mere sensuous beauty, advance boldly into the depths of the sanctuary. Let him reverently gaze upon the true beauty, the original type of those pale and fleeting images to which he may have hitherto applied the holy name of beautiful.'

We propose to consider reverently and with a humble sense of the limited sphere from which we must regard the infinite, some of the divine attributes, which must, in the finite mode, enter into every creation of artistic excellence. We begin our reflections with the infinite itself.

Infinite—this word is by no means the expression of a clear idea: it is merely the expression of an effort to attain one. It stands for the possible attempt at an impossible conception. Man needed a term by which to point out the direction of this effort—the cloud behind which lay, forever invisible, the object of this attempt. The fact is, that upon the enunciation of any one of that class of terms to which 'infinite' belongs—the class representing thoughts of thought—he who has a right to say he thinks at all, feels himself called upon, not to entertain a conception, but simply to direct his mental vision toward some given point, in the intellectual firmament, where lies a nebula never to be resolved. And yet to this very point, which the intellect cannot define, are our spirits forever tending. No artistic creation ever fully pleases unless there is given in it some suggestion of this mystic attribute, underlying and permeating all other attributes of Deity. It is the dim unconscious feeling after this attribute which causes the forever recurring dissatisfaction with the finite, which so ruthlessly pursues us through life. It is the source of that vague but tender longing, that restless but dreamy yearning, that haunting melancholy, which characterize human souls created for the enjoyment of the infinite; divining and insatiably thirsting for the absolute.

Let us now attempt to trace some of the various ways in which this feeling after the infinite manifests itself. Plato and his school tried to explain the existence of absolute ideas in the soul by the hypothesis of its preëxistence to that of the body in the bosom of the Absolute, the Infinite, the Eternal; and, consequently, that such ideas are but reminiscences of a more perfect life. We find the following passage in an ode of Wordsworth's:

It seems useless here to enter upon the vexed subject of 'innate ideas,' or to attempt to convince the reader, metaphysically, that the very negation contained in the word finite, necessarily suggests its affirmation in the word infinite. Enough that the idea of the infinite is certainly found in the mind of man, that he seeks it in the material world, in himself, in God. High gifts may have been wrought into the dim soul, which are destined to be gradually awakened through the growing perceptions of the mind. Every spiritual being created by eternal love may have had imparted to him a ray from the sun of eternal love, which, in its due time and place, is to manifest itself in his consciousness. Such participation in God as the primary source of all that is to abide eternally with the redeemed, has, in the present state of our vague consciousness, been described by men who felt its stirrings in their soul as the memory of eternal love. It might more properly be called an intuition of eternal love; such an instinct as leads the chrysalis to prepare for the change which it certainly does not understand. Life, such as the beat of the heart, the action of the lungs, is not manifested to the consciousness—neither is the source of this intuition, which, however, gives evidence of itself by an intuitive feeling of incessant longing. It reveals its presence constantly; sometimes in an undefinable feeling of profound desire, satisfied with no earthly object, yet but vaguely directed to the eternal or divine; sometimes in a profound and absorbing religiosity. This longing exists in an inchoate state; it is a love yet to be developed. From this mystic root springs much that is intellectually great, even the love of scientific certainty. Philosophy may, indeed, almost be termed the science of longing.

Developing in its normal growth, it gives us our true saints; those who live but to love God, and to serve man. But like all human gifts, it may be perverted. It is some such perverted apprehension or illusory longing for the infinite, which causes a man to surrender himself, heart and soul, to the despotic tyranny of some ruling habit, some favorite and engrossing pursuit. Alas! it often leads the most gifted of our race to devote all their energies, thoughts, feelings, to one faulty, fading, changing object, vainly pouring that worship upon the creature, which should be rendered only to the Creator.

The despair which this feeling sometimes occasions in the perverted soul of one intent upon feeding it with the gross aliments of the debased senses, is, without doubt, a very frequent cause of suicide. It may lead, in the soul of the infidel or sensualist, to the idolatry of art. It is a feeling, and requires direction. When enlightened by revelation and purified by faith, it manifests itself in the sublime abnegation and ardent love of the faithful follower of Jesus Christ.

This instinctive longing for the infinite, existing in the soul itself, cannot be satisfied by any earthly longing, sensual gratification, or external possession. Made 'to glorify God and enjoy Him forever,' man is ruined and eternally miserable if he refuse to fulfil the destiny for which he was created. His misery springs from the root of his greatness; it is because there is an infinite in him, which, with all his cunning, he cannot succeed in burying under the finite. This is a pregnant subject; under this strange caption might be written the psychological history of most human despair.

Thus is faith a necessity of the soul, 'the evidence of things not seen.'

The idea of eternity is necessarily evolved from the negation contained in the limited meaning of the word time. Eternity is the all embracing, completely complete time; eternity, which is infinite not only a parte externa, that is everpassing yet everlasting, without beginning and without end; but also infinite a parte interna—so that in the endlessly living, thoroughly luminous present, the whole past, also the whole future, are equally actual, equally clear, and equally present to us, as the very present itself. Can we indeed form any other conception of a state of perfect bliss? Is the idea of a state of entire happiness at all compatible with the regret that must be felt for a blissful past; the consciousness of a flying present; and the fear of an uncertain future? Yet the idea of time does not seem necessarily excluded from a conception of the essence and operations of God. Does there in very reality exist such an absolute opposition between time and eternity, that it is quite impossible for them to subsist in any mutual contact or relation? Is there no transition from the one to the other conceivable? Is eternity anything more than time vitally full, blissfully complete? If eternity is nothing more than the living, full, essential time, and if our earthly, fettered, and fragmentary time is, as the great poet says, 'out of joint,' fallen with man's disobedience to his God into a state of strange disorder—it is easily conceivable that the two do not stand apart so as to have no mutual contact. Those who have seen a holy death leave a calm and beautiful smile upon the face of a dying Christian, can scarcely help believing that the beginning of a blissful eternity has impressed itself upon the rapt features, actually breaking through the shackles of time before the prisoner was emancipated from its fetters. And those brief intervals of rapture which are sometimes experienced in the midst of earnest and ardent devotion—what are they but eternity thus manifesting itself through time in the soul? Those who have been rescued from the very jaws of death, frequently tell us that the moment preceding insensibility was crowded and filled with vivid recollections of the whole apparently forgotten past—thus bringing into the soul in the midst of time, a foretaste and interval of eternity! and those prophetic intimations of things yet to be, which frequently break in with startling power upon the human spirit, what indeed are they but sudden contacts between our fettered time, 'so out of joint,' and the fulness of eternity? Men rave against the justice of eternal punishment, as if its duration were not essentially part of their own immortality! Ah! if the memories of the deeds done in the body are essentially undying, were it not well for us that the writing traced against us by our own hands should be nailed to the cross, obliterated in the blood of the Immaculate Victim? that mystic blood which has bathed the universe!

The innate longing for the infinite, with its accompanying intuitions of the eternal love, and the yearnings for that fulness of time when the past and future shall live with us as really as the present itself, are ever vivid within us, and are two of the great vital arteries of all true art. This burning human thirst for the fulness of eternity in opposition to our fragmentary time manifests itself in our agonizing efforts to bring back the past, to which sad efforts we have given the melancholy name of memory; shows itself in our restless longing for the future, which we call hope; and frequently reveals itself in an insane seizing upon something in the imperfect and fleeting present, which it insists upon worshipping, in regarding as divine. Upon this last phase is dependent all that excited, exaggerated, but frequently beautiful passion of language which marks our poems of love. Ah! it is the merciful will of the Creator that we should worship only the divine, and so the human passion ends in sobs and wails of anguish, for the finite idol can never fill the shrine of the Absolute, the infinite God!

As the intuition of eternal love in the past, we find this longing for the infinite breathing through poetry in the form of elegy; in sad recollections of a faded world of demigods and heroes; and in the plaints for the loss of man's native home in Paradise, in the faint and dying echoes of the happy innocence of creation before the first outbreak of evil, and the consequent misery of nature. Poetry is indeed so full of haunting, melancholy memories, that it might almost be called the 'mind's supersensuous recollection of the eternal.' And what else can be said of music? Is it not an art eminently addressed to this intuition of eternal love, this constant longing for the infinite? Do not its giddy flights and dying falls at once arouse this mystic yearning, seeking, feeling, which may appropriately be termed the passion of the soul? That music holds some deep relation to the soul not yet clearly developed, may be inferred, not only from the magic power it sways over our spirits, but from the fact that the inspired writers picture it among the joys of heaven. It is now the language of our 'divine despair;' it is yet to be the speech of our eternal beatitude!

'God is love:' through all the hidden veins of ever-germing life beats this divine pulse of universal being. Hope, faith, and charity spring from the revelation and answering intuitions of this blissful love: from the hope, faith, and love of men sprang all the really noble works of art. All this is full of consolation, 'though inward far we be'—even the mournful memory of a past of celestial innocence becomes the harbinger of a divine hope. Let the poet then still sing of the past; like the glories of the setting sun flushing down the golden west, it but whispers of a more glorious rise in the mythic east. The root of art springs from the intuitions of eternal love; its leaves, flowers, and fruit, are faith, hope, and charity. May the rapt artist ever remember that the beauty of this earth was not intended to satisfy the requisitions of his longing soul, but to awaken and nourish in it the love of eternal beauty!

A golden thread of glories yet to be, twines through the woof of this our mortal life, and by tracing its wavy lines of glittering brilliancy, shining even through the dim symbolism of matter, many secrets of the life to come may be divined. The arts may be regarded as significant hieroglyphics of delights yet to be fulfilled in other spheres of being. The living pulse of omnipotence, the heart of God, beats sensibly in the beauty of the boundless universe; it is the fountain at which the young immortal is to imbibe his first draught for eternity. Not that, as erroneously held by the Pantheists, nature is God, no more than Raphael is the pictures he paints; but assuming the existence of a God as the creator of the worlds, what else can nature be but a revelation of God and divine love, a visible and symbolic representation thereof in matter; living, because His breath is life?

The following remarkable passage on the religious origin and consecutive order of the arts occurs in De La Mennais' 'Sketch of Philosophy:'

'The temple of art is an emanation from that Divine Spirit who fills it with Himself. It is the plastic evolution of the idea which man has of Him, of His nature, of His ways, as manifested in the universe. From its central sanctuary in which He, the unseen, dwells, this temple projects, extending itself in space in every direction; but by an opposite movement all its parts, closely united, converge to the sanctuary, gravitating toward the central point where their Head, their essential and primordial Reason, dwells; they struggle to penetrate its mystic veil, to mingle with it, to have their being in it, in order to accomplish the perfect union of variety with unity, of the finite with the infinite.

'The art temple struggles to develop itself by a process analogous to that of creation. The surface of the earth was first clothed with vegetation, from the lowly moss and creeping lichen to the lofty cedar, whose solemn branches mingle with the floating clouds. When the earth was ready for their habitation, came the animals, gifted with higher life, with spontaneous motion, with instinct and sensibility. At last came man, endowed with the incomparable faculties of love and reason.

'The art temple has also its vegetation. Its walls are covered with varied plants, which wind along its cornices and wreathe its plinths; they blossom round the oriels, brightening or deepening in the light; they twine through the nerves of the vaulted arch; like the liane of the cedars, they embrace the tall minarets of the heaven-seeking spire, mounting into the blue depths of ether; they bind the clustering shafts of the columns in heavy sheaves, and crown their capitals with flowers and foliage. The stone grows more and more animated, puts forth in more luxuriant growth; multitudes of new forms spring up in the bosom of this magnificent creation; when lo! at length man completes and embodies them all—his own noble image stands revealed—the rude, but white and glittering stone glows almost into life under the passion of his forming hand.

'Sculpture is but an immediate development of architecture, proceeding naturally and organically from it. In proof of this, we have only to examine it in its first efforts. Forms, unfinished and embryonic, at first closely attached to the stone, growing by degrees in accordance with their own fixed laws until able to detach themselves from the medium through which they were originated, after having acquired the conditions necessary for their individual life, spring to actual life, to independent life, almost as the organized being springs from the womb of its mother.

'Sculpture, however, represents but imperfectly the marvellous glories of God's creation. It can give but faint ideas of the various effects of light and shade, the constantly shifting play of colors; it cannot offer that full harmony of beauty which nature is ever spreading before us in the complicated scenes of life. To satisfy this want, a new art is created! Closely linked with all those which have preceded it, its development is but their legitimate expansion. The gray and stern arches, the hitherto colorless sky of the art temple, now take the azure hue of the heavens, while hovering cherubs look down from their cerulean depths; the relievos glow, and color defines, as it etherealizes, the works of man. Painting, at first absorbed in the plastic arts, scarcely begins to show symptoms of life until she is fully born, and living in her own distinctive form! As that power which develops the almost infinite variety of forms is to the universe, so is painting with its ever ready and vivid canvas to the temple of art.

'Meanwhile the art temple has not remained wrapped in gloomy silence; and another series of developments, bearing the same relation to sound and hearing as the first did to light and sight, have commenced. As beings ascend in the scale of life, the forms appealing to sight alone, become less capable of expressing their nature. If the universe had been without voice, the highest which it contains had been shrouded in the pall of an eternal silence; but creation has a voice which is specific in every genus, in every species, in every individual. Transport yourself in thought to one of the vast solitudes of the New World—listen to the rustling of the myriad-leafed forests as they forever murmur on the banks of the thousands of nameless and unknown streams which ripple through them; to the clash of the impetuous torrents as they rush down the precipitous sides of the mountains to glide on from their feet through beds of soft moss or sedgy grass; to the booming thunder, driving, scattering, and tearing the flying clouds; to the intermingling sounds arising from the myriads of creatures which are roaring, bellowing, humming, buzzing, hissing, singing, upon the bosom of this primeval world—listen! this is the voice of nature, indistinct and confused, but majestic, solemn, multitudinous, full of mystery and palpitating with vague emotions.

'As the art temple symbolizes the creation, is the plastic image of it, a voice is also heard from its depths, which rides upon the winds, and pierces afar off. The echo of an invisible world, it is solemn, mysterious, and multiform, appealing to the inmost feelings, rousing the sleeping powers, awakening the internal life of the soul, which without it might lie forever benumbed and silent. Corresponding to the voice of nature, it, too, is specifically marked, is individualized in every medium through which it is produced. Developing in unceasing variety, yet ever bound in the closest unity, language syllables air into thought, love. As soon as man mingles his voice, his speech, with that of inferior beings, the whole creation is enlarged, dilates and throbs with new and glowing life. A closer tie unites the two worlds—the world of phenomena and the world of ideas. Rising from the bosom of organic nature, pressing up like a bud closely wrapped in its sheaf of clustering and sheltering leaves, destined to indefinite development, the human word is born; it is named: Oratory, Poetry, Music! The art temple is now complete. Symbol of the universe, it represents all that is contained therein under the glittering veil of art.'

It is strange how, in the middle ages, the temple of art almost grew into one with the temple of faith; to this fact may be traced the elevated and devout character of the chefs-d'œuvre of those dim centuries. Thus the church became a sublime poem, where the glowing imagination of a tender faith lavished all its glories. That the Christian church then satisfied the heart with its mystic dogmas and symbolic representations, is proved by the fact that the masses did not care how obscure and squalid their own hovels might be, provided the temple was great and magnificent. It was the temple of simple, unreasoning, unquestioning faith, but decorated with the highest marvels of art; it was always thrown open to the people, and in it they passed nearly half their days. Man brought what he held to be his best to the temple in which he came to worship God, and in it was concentrated all the world knew of beauty. Its light but ornate steeples seemed to pierce the very clouds; its columns rivalled the shafts of the forest; its balustrades were exquisitely chiselled; its tapestry inwrought with the finest needle work;—all gave evidence that the hand of love had lingered tenderly over every line in the house dedicated by man to his Maker. The pictured saints and angels seemed to smile upon the kneeling people, while the majestic chants and requiems sounded to them like the very voices of the angels, heard from within the 'jasper gates' of the heavenly city. The white-robed and entoning priests were their joy and pride; they, as well as the cherished artists, were most frequently from their own oppressed ranks. Religion and art were alone then democratic; alone expounded to them the original equality of man. Thus they looked upon these temples, which art beautified for faith, as peculiarly their own, their refuge, their solace, their ark of safety in those times of war and trouble. They earnestly and devoutly believed them to be the sanctuaries of the risen God, in which dwelt his glorified Body. With the first rays of the sun flushing with roseate hues the mystic beauty of the temple, they congregated there to receive, in the glorious unity of a common humanity, Him whom the heavens cannot contain—the Son of God. They did not think, they felt; they could not reason, but they heard the church. Naive, simple, and trusting souls, with the Virgin to smile upon them, and the saints to pray for them.

It cannot surely be denied that art is full of indefinite and instinctive longing for the infinite.

Poetry is full of its pining voice. Chateaubriand says:

'When we are alone with nature, the feeling of the infinite forces itself irresistibly upon us. When the universe with its inexhaustible variety opens before us, when we contemplate the myriads of stars moving in ever-mystic harmony through the limitless immensity of space, when we gaze upon the ocean mingling with the sky in the boundless distance of the far horizon, when the earth and sea are rocked into profound calm, and creation itself seems wrapped in mystic contemplation—an undefinable feeling of melancholy seizes upon us, unknown desires awaken in the soul, they seem to call us into other countries far beyond the limits of the known—must it not then be the vague feeling after, the dim longing for, the infinite, which at such moments we feel strangely stirring in the calm depths of the divining soul?'

We find the same yearning breathing through the following beautiful poem of Mrs. Osgood's:

It is to his fervent and fiery expression of this longing for the infinite, characterizing, whether pure or perverted, almost the whole of Byron's poetry, breaking out sometimes in imprecations and despair, and not to his immorality, that his great popularity is to be attributed. Even in the midst of the most unhappy scepticism, it was the haunting passion of his soul. Alas! that this longing for the food of heaven should have been fed on husks until the lower rungs of the heaven ladder became so covered with the corruption of matter and fiery sparks of evil, that it seemed rather meant for the foul feet of demons, than for the elastic tread of the redeemed human soul to God! We quote from him in proof:

In some of the most forcible lines ever penned, Byron has given us the whole psychological analysis of the effects of human passion, when, in its insane perversion, and misdirected thirst for the infinite, it pours upon the dust that love and worship which is due to God alone. No one who has thus sinned, will refuse to acknowledge their force and truth. Fearful in their Medusa-like beauty, they fascinate the heart, only to turn its warm pulses into ice. They are actually withering in their despair. Poor Byron! did he never, never cry with the repentant but happy St. Augustin: 'Oh, eternal beauty! too late have I known thee!'

Again:

Merciful God! how men suffer when they fly from Thee. When they refuse to listen to the sublime voice implanted within, which calls them to Thee, forever reminding them that they were made for things infinite, eternal! O ye men of pleasure, it is the very greatness of your nature which torments you: there is nothing save God capable of filling the immeasurable depths of your longing! How different the language of Klopstock, as already quoted: 'What recompense could I ask? I have tasted the cup of angels in singing of my Redeemer!'

One of the most dangerous, yet most brilliant among the novelists of the present day, says:

'Properly speaking, love is not a violent aspiration of every faculty toward a created being; it is rather a holy thirst of the most ethereal part of our being for the unknown. Tormented with intuitions of an eternal love, filled with torturing and insatiate desires for the infinite, we vainly seek their gratification in the dying forms which surround us, and obstinately adorn our perishable idols with that immaterial beauty which haunts our dreams. The emotions of the senses do not suffice us; in the treasure house of the simple joys of nature there is nothing sufficiently exquisite to fill our high demands; we would fain grasp heaven, and it is not within our reach. Then we seek it in a creature fallible as ourselves; we expend upon it all the high energies given us for far nobler ends. We refuse to worship God, and kneel before a worm like ourselves! But when the veil falls, when we see behind the clouds of incense and the halos woven by love, only a miserable and imperfect creature—we blush for our delusion, overturn our idol in our despair, and trample it rudely under foot. But as we must love, and will not give our hearts to God, for whom they were created, we seek another idol—and are again deceived! Through this bitter, bitter school we are purified and enlightened, until, abandoning all hope of finding perfection on earth, we are at last ready to offer God that pure, but now broken-hearted worship, which should never have been given save to Him alone.'—George Sand.