Where interest is centered on a world to come, there not infrequently results a loss of interest and discrimination in the goods of earthly life. "For what shall it profit a man if he shall gain the whole world and lose his own soul?" The beauties, goods, and distinctions of this world coalesce into an indiscriminate triviality in comparison with that infinite glory hereafter to be attained. One does not trouble one"s self about the furniture of earthly life any more than one would take pains with the beautification of a room in which one happens to be lodged for a night.
Lay not up for yourselves treasures upon earth, where moth and rust doth corrupt, and where thieves break through and steal.
But lay up for yourselves treasures in Heaven, where neither moth nor rust doth corrupt, and where thieves do not break through nor steal.
Though on earth you may live in squalor, poverty, and disease, yet "in my Father"s house are many mansions."
Poverty, indeed, became in the Middle Ages one of the vows of monastic orders. In the New Testament it is prescribed, "Blessed are the poor in spirit" and the doctrine was in many cases literally accepted.
If any one of you will know whether he is really poor in spirit, let him consider whether he loves the ordinary consequences and effects of poverty, which are hunger, thirst, cold, fatigue, and the denudation of all conveniences. See if you are glad to wear a worn-out habit full of patches. See if you are glad when something is lacking to your meal, when you are pa.s.sed by in serving it, when what you receive is distasteful to you, when your cell is out of repair. If you are not glad of these things, if instead of loving them you avoid them, then there is proof that you have not attained the perfection of poverty of spirit.[2]
[Footnote 2: Alfonso Rodriguez: _Pratique de la Perfection Chretienne_, part III, treatise III, chap. VI; quoted in James"s _Varieties of Religious Experience_, p. 315.]
Contempt for this world"s goods, when generalized, promotes an att.i.tude of indifference to the social conditions in which men live. The history of the saints is filled with references to their endurance of pain, ill health, poverty, and disease. And the "world, the flesh, and the devil" are for some types of religious mind all one. For such, to be engaged in social betterment is an irrelevant business, it is to be lost in the world. People"s souls must be saved; not their bodies.
Religions, on the other hand, have frequently emphasized man"s social duty. In Christianity this is largely a derivative of the highly regarded virtue of Charity. Interest in one"s own well-being was a prerequisite for the devout, but interest in the welfare of others was equally enjoined. To help the poor and the needy, the widowed and the fatherless, to bring succor to the oppressed and justice to the downtrodden, have been part of the religion whose Founder taught that all men were the children of their Father in Heaven. The mendicant orders of the Middle Ages were devoted to philanthropic works; and with religious inst.i.tutions, throughout their history, have been a.s.sociated works of philanthropy and social welfare.
Very recently urban churches in this country have been showing a tendency to reorganize with emphasis on the church as an instrument of social cooperation rather than as an aloof exponent of dogmatic theology. It is the ideal of some liberal theologians to use the churches chiefly as instruments for giving social effectiveness to the religious impulse and at the same time for making social betterment a spiritual enterprise.
CHAPTER XIII
ART AND THE aeSTHETIC EXPERIENCE
ART _VERSUS_ NATURE. In the Career of Reason man has gradually learned to control the world in which he lives in the interests of his own welfare as he imaginatively contemplated it.
Deliberate control has been made necessary because of the fact that man is born into a world which was not made for him, but in which he must, if anywhere, grow; in a world which was not designed to fulfill his desires, but where alone his desires can find fulfillment. Art may thus, in the broadest sense, be set over against Nature. It is the activity by which man realizes ideals. He may realize them practically, as when he builds a house which he has first imagined, or reaps a harvest in antic.i.p.ation of which he has first sown the seeds. He may realize them imaginatively, as when in color, form, or sound he creates some desiderated beauty out of the crude miscellaneous materials of experience. Art, in the broad sense of control or direction of Nature, arises in the double fact of man"s instinctive activities and desires and the inadequacy of the environment as it stands to afford them satisfaction. Because nature is not considerate of his needs, man must himself take forethought, and devise means by which the forces and the materials of Nature may be exploited to his own good. And the realization of this forethought is made possible through the fact that natural conditions do lend themselves to modification. Nature, though indifferent to man"s welfare, is yet partly congruous with it. While the wind blows careless of the good or ill it does to him, yet man may learn by means of windmills or sailboats to turn the wind to his own interest. Though the river may flow on forever, oblivious to the men that come and go along its sh.o.r.es, yet the pa.s.sing generations may transform this undeliberate flowing into the power that yields them clothing, machinery, and transportation. All civilization is, as Mill says, an exhibition of Art or Contrivance; it is ill.u.s.trated by
the junction by bridges of sh.o.r.es which Nature had made separate, the draining of Nature"s marshes, the excavation of her wells, the dragging to light of what she has buried at immense depths in the earth; the turning away of her thunderbolts by lightning rods; of her inundations by embankments, of her oceans by breakwaters.[1]
[Footnote 1: Mill: _Three Essays on Religion_, p. 19 (essay on "Nature").]
By irrigation man has learned to make the "wilderness blossom as the rose." By railways, telegraphs, and telephones, he has learned to minimize the obstacles that time and s.p.a.ce offer to the fulfillment of his desires. By controlling, by means of education and social organization, his own instincts in the light of the purposes he would attain, by studying "the secret processes of Nature," man has learned to make the world a fit habitation for himself. To dig, to plough, to sow, to reap, are instances of the means whereby man has applied intelligent control to his half-friendly, half-hostile environment.
Man"s deliberate control of Nature arises thus under the sharp pressure of practical necessity. Man is inherently active, but, as pointed out in an earlier connection, his activity takes coherent and consecutive form primarily under the compulsion of satisfying his physical wants, of finding food, clothing, and shelter. The greater part of human energy, certainly under primitive conditions, is devoted to maintaining a precarious equilibrium among the mysterious and terrifying forces of a half-understood environment. There is not much time for leisure, play, or art, where food is a continuously urgent problem, where one"s shelter is likely to be destroyed by storm or wind, where one is threatened incessantly by beasts of prey, and, as primitive man supposed, by capricious supernatural powers. Under such circ.u.mstances, life is largely spent in instrumental or imperative pursuits. Action is fixed by necessity. It is controlled with immediate and urgent reference to the business of keeping alive. There is scarcely time for the activity of art, which is spontaneous and free.
In civilized life, also, the greater part of human energy must be spent in necessary or instrumental business. Men must, as always, be fed, clothed, and housed, and the fulfillment of these primary human demands absorbs the greater part of the waking hours of the majority of mankind. Our civilization is predominantly industrial; it is devoted almost entirely to the transforming of the world of nature into products for the gratification of the physical wants of men. These wants have, of course, become much complicated and refined: men wish not only to live, but to live commodiously and well.
They want not merely a roof over their heads, but a pleasant and comfortable house in which to live. They want not merely something to stave off starvation, but palatable foods.
In the satisfaction of these increasingly complicated demands a great diversity of industries arises. With every new want to be fulfilled, there is a new occupation, pursued not for its own sake, but for the sake of the good which it produces. There are industrial leaders, of course, who find in the development and control of the productive energies of thousands of men, in the manipulation of immense natural resources, satisfactions a.n.a.logous to that of the fine artist. But for most men engaged in the routine operations of industry, the work they do is clearly not pursued on its own account. Industry, viewed in the total context of the activities of civilization, is a practical rather than a fine art. Its ideal is efficiency, which means economy of effort. Its interest is primarily in producing many goods cheaply.
THE EMERGENCE OF THE FINE ARTS. In the sharp struggle of man with his environment, those instincts survived which were of practical use. The natural impulses with which a human being is at birth endowed, are chiefly those which enable him to cope successfully and efficiently with his environment. But even in primitive life, so exuberant and resilient is human energy that it is not exhausted by necessary labors.
The plastic arts, for example, began in the practical business of pottery and weaving. The weaver and the potter who have acquired skill and who have a little more vitality than is required for turning out something that is merely useful, turn out something that is also beautiful. The decorations which are made upon primitive pottery exhibit the excess vitality and skill of the virtuoso. Similarly, religious ritual, which, as we have seen, arises in practical commerce with the G.o.ds, comes to be in itself cherished and beautiful. The chants which are prescribed invocations of divinity, become songs intrinsically interesting to singer and listener alike; the dance ceases to be merely a necessary religious form and becomes an occasion of beauty and delight. Jane Harrison has shown in detail how ritual arises out of practical need, and art out of ritual.[1] Thus the Greek drama had its beginnings in Greek religion; the incidental beauty of the choruses of the Greek festivals developed into the eventual tragic art of aeschylus, Sophocles, and Euripides. Ceasing to be a practical invocation to the G.o.ds it became an artistic enterprise in and for itself. Repeatedly we find in primitive life that activity is not exhausted in agriculture, hunting, and handicraft, or in a desperate commerce with divinity. Harvest becomes a festival, pottery becomes an opportunity for decoration, and prayer, for poetry. Even in primitive life men find the leisure to let their imaginations loiter over these intrinsically lovely episodes in their experience.
The potter may be more interested in making a beautifully moulded and decorated vessel than merely in turning out a thing of use; the maker of baskets may come to "play with his materials," to make baskets not so much for their usefulness as for the possible beauty of their patterns. When this interest in beauty becomes highly developed, and when circ.u.mstances permit, the fine arts arise. The crafts come to be practiced as intrinsically interesting employments of the creative imagination. The moulding of miscellaneous materials into beautiful forms becomes a beloved habitual practice.
[Footnote 1: See Jane Harrison: _Ancient Art and Ritual_, especially chap. I.]
The context in which art appears in primitive life is paralleled in civilized society. The energies of men are still largely consumed in necessary pursuits. Men must, as of old, by the inadequacy of the natural order in which they find themselves, find means by which to live; and, being by nature const.i.tuted so that they must live together, they must find ways of living together justly and harmoniously. "Industry,"
writes Santayana, "merely gives to Nature that form which, if more thoroughly humane, she might already have possessed for our benefit." It is creative in so far as it transforms matter from its crude indifferent state to forms better adapted to human ideals. It makes cotton into cloth, wool into clothing, wheat into flour, leather into shoes, coal into light and power, iron into skysc.r.a.pers. It is devoted to annulling the discrepancies between nature and human nature. It turns refractory materials and obdurate forces into commodious goods and useful powers.
But, in the broadest sense, industry is a means to an end.
Interesting and attractive it may well become, as when a bookbinder or a printer takes a craftsman"s proud delight in the manner in which he performs his work, and in the quality of its product. But the industrial arts, for the most part, serve more ultimate purposes. It is imaginable that Nature might have provided clothing, food, and shelter ready to our hand. It is questionable whether under such circ.u.mstances men would out of deliberate choice continue industries which are now made imperative through necessity. The mines and the stockyards are necessary rather than beautiful or intrinsically attractive occupations. But in the world of fact, those things which are necessary to us are not ready to our hand.
Our civilization is predominantly industrial, and must be so, if the billion and a half inhabitants of our world are to be maintained by the resources at our command.
Nevertheless despite the absorption of a large proportion of contemporary society in activities pursued not for their own sakes, but for the goods which are their fruits, there is still, as it were, energy left over. This excess vitality may, as it does for most men, take the form of mere unorganized play or recreation. But not so for those born with a singular gift for realizing in color or form or sound the ideal values which they have imagined. For these "play" is creative production.
The fine arts are, in a sense, the play of the race. They are the fruits of such energy as is, through some fortunate accident of temperament or circ.u.mstance, not caught up in the routine and mechanics of industry or the trivialities of sport or pleasure. They are human activities, freed from the limitations imposed by the exigencies of practical life, and controlled only by the artist"s imagined visions. Creative activity is most explicit and most successful in the fine arts, because in these there are fewer obstacles to the material realization of imagined perfections. "The liberal arts bring to spiritual fruition the matter which either nature or industry has prepared and rendered propitious."
The industrial arts are, as already pointed out, man"s transformation of natural resources to ideal uses. In the same way political and social organization are human arts, enterprises, at their best, in the moulding of men"s natures to their highest possible realization. But in the world of action, whether political or industrial, there are incomparably greater hindrances to the realization in practice of imagined goods than there are, at least to the gifted, in the fine arts. Every ideal for which men attempt to find fulfillment in the world of action is subject to a thousand accidental deflections of circ.u.mstance.
Every enterprise involves conflicting wills; the larger the enterprise, the more various and probably the more conflicting the interests involved. Social movements have their courses determined by factors altogether beyond the control of their originators. Statesmen can start wars, but cannot define their eventual fruits. A man may found a political party, and live to see it wander far from the ideal which he had framed. But in the fine arts, to the imaginatively and technically endowed, the materials are prepared and controllable.
In the hands of a master, action does not wander from intent. Language to the poet, for example, is an immediate and responsive instrument; he can mould it precisely to his ideal intention. The enterprise of poetry is less dependent almost than any other undertaking on the accidents of circ.u.mstance, outside the poet"s initial imaginative resources.
In music, even so simple an instrument as a flute can yield perfection of sound. The composer of a symphony can invent a perpetual uncorroded beauty; the sculptor an immortality of irrefutably persuasive form. This explains in part why so many artists, of a reflective turn of mind, are pessimists in practical affairs. The world of action with its perpetual and pitiful frustrations, failures, and compromises, seems incomparably poor, paltry, and sordid, in comparison with the perfection that is attainable in art.
Haunting foreshadowings of the temple appear in the realm of imagination, in music, in architecture, in the untroubled kingdom of reason, and in the golden sunset magic of lyrics, where beauty shines and glows, remote from the touch of sorrow, remote from the fear of change, remote from the failures and disenchantment of the world of fact. In the contemplation of these things the vision of heaven will shape itself in our hearts, giving at once a touchstone to judge the world about us, and an inspiration by which to fashion to our needs whatever is capable of serving as a stone in the sacred temple.[1]
[Footnote 1: Bertrand Russell: _Philosophical Essays_, pp. 65-66.]
The creative artist gives such form to the miscellaneous materials at his disposal that they give satisfaction not only to the senses or the intellect, but to the imagination. What const.i.tute some of the chief elements in the aesthetic experience, we shall presently examine. It must first be pointed out that in general in the fine arts creative genius has found ways of imaginatively attaining perfections not usually accorded in the experiences of the senses, in the life of society, or in the life of the mind.
The region called imagination has pleasures more airy and luminous than those of sense, more ma.s.sive and rapturous than those of intelligence. The values inherent in imagination, in instant intuition, in sense endowed with form, are called aesthetic values; they are found mainly in nature and in living beings, but also in man"s artificial works, in images evoked by language, and in the realm of sound.[1]
[Footnote 1: Santayana: _Reason in Art_, p. 15.]
The painter imagines and seeks to realize hues and intensities of color more satisfying and more suggestive than those commonly experienced in nature, save in the occasional grace of sunset on a mountain lake, or the miracle of moonlight on the ocean. The artist takes his hints from nature, but clothes the suggestions of sense with the values and motives which exist only in his own mind and imagination. A Turner sunset is, as Oscar Wilde points out, in a sense incomparably superior to one provided by nature. It not only gives the beautiful sensations to be had in a landscape suffused with the sunset glow; it infuses into this experience the pa.s.sionate and penetrating insight of a genius. The artist, to an extent, imitates nature. But, if that were all he did, he would be no more than a photographer. He pictures nature, but gives it "tint and melody and breath"; he gives it a value and significance derived from his own imaginative vision. The musician combines sounds more significant, ordered, and rhythmical than those miscellaneous noises which, in ordinary experience, beat indifferently or painfully upon our ears.
The poet selects words whose specific music, rhythmical combinations, and lyrical context produce a something more evocative, compelling, and euphonic than the casual and raucous instrument of communication which const.i.tutes ordinary speech.
Not only do poets give imaginative and ideal extensions to sense experience; they do as much with and for social life.
In the dreaming of Utopias, in the building of the Perfect City, men have found compensations for the imperfect cities which have been their experiences on earth. They build themselves in imagination a world where all injustices are erased, where beauty is perennial, where truth, courage, kindliness, and merriment are the pervasive colors of life.
In the activity of creative art, man"s imagination has reached out beyond the confines of nature and of history, and built itself, in marble and in music, in lyrics and in legends, hints of that enchanting possible, of which the impoverished actual gives tentative and tenuous hints.
In some men sensitivity to the imaginative possibilities of the materials of Nature is so high, that they can find satisfactory activity nowhere else than in one or another of the fine arts. These are the poets, the musicians, and the sculptors, who seek to give realization in the arts in the technique of which they are especially gifted, to that imagined beauty by the intimate experience of which they live. In one way or another the creative artist seeks to give form and dimension to
"The light that never was on sea or land, The consecration and the poet"s dream."
This creative impulse may find its realization, as already pointed out, in industry, though, with the highly routine character of most men"s occupations in present-day industrial life, there is not much opportunity for imaginative activity.
That both work and happiness would be promoted by the encouragement of the craftsman ideal goes without saying.
Whether or not it is possible to utilize the creative impulses in the processes of industry as now organized, there are instances where the joy of craftsmanship may be exploited both for the happiness of the worker and the good of the work.
The William Morris ideal of the artist-worker may be hard to attain, but it is none the less desirable, both for the sake of the worker and his work.
In science the uses of the imagination have been frequently commented on, not least by scientists. The patient collection of facts, the digging and measurement and inquiry that characterize so much of scientific investigation are not the whole of it. Inference, the forming of a generalization, is frequently described "as a leap from the known to the unknown," and this discovery of a binding principle that brings together a wide variety of disconnected facts is not unlike the process of the creative artist. The same unconscious method by which a poet hits upon an appropriate epithet, a musician upon a melody, a painter upon an effect of color or line is displayed in that sudden vivid flash of insight by which a scientist sees a ma.s.s of facts that have long seemed bafflingly contradictory, gathered up under a single luminous law. In his famous essay on "The Scientific Uses of the Imagination," Tyndall writes:
We are gifted with the power of Imagination, ... and by this power we can lighten the darkness which surrounds the world of the senses. There are tories even in science who regard imagination as a faculty to be feared and avoided rather than employed. They had observed its action in weak vessels and were unduly impressed by its disasters. But they might with equal justice point to exploded boilers as an argument against the use of steam. Bounded and conditioned by cooperant Reason, imagination becomes the mightiest instrument of the physical discoverer. Newton"s pa.s.sage from a falling apple to a falling moon was, at the outset, a leap of the imagination. When William Thomson tries to place the ultimate particles of matter between his compa.s.s points, and to apply to them a scale of millimetres, he is powerfully aided by this faculty. And in much that has been recently said about protoplasm and life, we have the outgoings of the imagination guided and controlled by the known a.n.a.logies of science. In fact, without this power, our knowledge of Nature would be a mere tabulation of coexistences and sequences. We should still believe in the succession of day and night, of summer and winter; but the soul of Force would be dislodged from our universe; causal relations would disappear, and with them that science which is now binding the parts of nature into an organic whole.[1]
[Footnote 1: Tyndall: _Fragments of Science_, pp. 130-31.]
As we shall presently see, this imaginative leap is guarded and controlled, so that no flash of insight, however attractive, is uncritically accepted. But the origin of every eventually accepted hypothesis lies in the upshoot of irresponsible fancy, differing not at all from the images in the mind of a poet or painter or the melodies that unpredictably occur to a musician.
THE aeSTHETIC EXPERIENCE. Art is, on its creative side, as we have seen, the control of Nature in the practical or imaginative realization of ideals. The industrial arts are pursued out of necessity, because man must find himself ways of living in a world which he must inhabit, though it is not _a prior_ arranged for his habitation. The fine arts are pursued as ends in themselves.[1] The genuinely gifted sing, paint, write poetry, apart from fame and reward, for the sheer pleasure of creation. But the products of these creative activities themselves become satisfactions on a par with other natural goods.
The objects of art--poems, paintings, statues, symphonies--are themselves prized and sought after. They afford satisfaction to that large number of persons who are sensitive to the beautiful without having a gift for its creation.