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of this divinity; and successes in those fields are the poor amends, the fig-leaf with which the shamed soul attempts to hide its nakedness. I find the like unwilling homage in all quarters. It is because we know how much is due from us, that we are impatient to show some petty talent as a substitute for worth. We are haunted by a conscience of this right to grandeur of character, and are false to it. But each of us has some talent, can do somewhat useful, or graceful, or formidable, or amusing, or lucrative. That we do, as an apology to others and to ourselves, for not reaching the mark of a good and equal life. But it does not satisfy us, whilst we thrust it on the notice of our companions. It may throw dust in their eyes, but does not smooth our own brow, or give us the tranquillity of the strong when we walk abroad. We do penance as we go. Our talent is a sort of expiation, and we are constrained to reflect on our splendid moment, with a certain humiliation, as somewhat too fine, and not as one act of many acts, a fair expression of our permanent energy. Most persons of ability meet in society with a kind of tacit appeal. Each seems to say, "I am not all here." Senators and presidents have climbed so high with pain enough, not because they think the place specially agreeable, but as an apology for real worth, and to vindicate their manhod in our eyes. This conspicuous chair is their compensation to themselves for being of a poor, cold, hard nature. They must do what they can. Like one class of forest animals, they have nothing but a prehensile tail: climb they must, or crawl. If a man found himself so richnatured that he could enter into strict relations with the best persons, and make life serene around him by the dignity and sweetness of his behavior, could he afford to circumvent the favor of the caucus and the press, and covert relations so hollow and pompous, as those of a politician? Surely nobody would be a charlatan, who could afford to be sincere.

The tendencies of the times favor the idea of self-government, and leave the individual, for all code, to the rewards and penalties of his own constitution, which work with more energy than we believe, whilst we depend on artificial re

straints. The movement in this direction has been very marked in modern history. Much has been blind and discreditable, but the nature of the revolution is not affected by the vices of the revolters; for this is a purely moral force. It was never adopted by any party in history, neither can be. It separates the individual from all party, and unites him, at the same time, to the race. It promises a recognition of higher rights than those of personal freedom, or the security of property. A man has a right to be employed, to be trusted, to be loved, to be revered. The power of love, as the basis of a state, has never been tried. We must not imagine that all things are lapsing into confusion, if every tender protestant be not compelled to bear his part in certain social conventions: nor doubt that roads can be built, letters carried, and the fruit of labor secured, when the government of force is at an end. Are our methods now so excellent that all competition is hopeless? Could not a nation of friends even devise better ways? On the other hand, let not the most conservative and timid fear anything from a premature surrender of the bayonet, and the system of force. For, according to the order of nature, which is quite superior to our will, it stands thus: there will always be a government of force, where men are selfish; and when they are pure enough to abjure the code of force, they will be wise enough to see how these public ends of the post-office, of the highway, of commerce, and the exchange of property, of museums and libraries, of institutions of art and science, can be answered.

We live in a very low state of the world, and pay unwilling tribute to governments founded on force. There is not, among the most religious and instructed men of the most religious and civil nations, a reliance on the moral sentiment, and a sufficient belief in the unity of things to persuade them that society can be maintained without artificial restraints, as well as the solar system; or that the private citizen might be reasonable, and a good neighbor, without the hint of a jail or a confiscation. What is strange too, there never was in any man sufficient faith in the power of rectitude, to inspire him with the broad design of renovating the State on the

principle of right and love. All those who have pretended this design, have been partial reformers, and have admitted in some manner the supremacy of the bad State. I do not call to mind a single human being who has steadily denied the authority of the laws, on the simple ground of his own moral nature. Such designs, full of genius and full of fate as they are, are not entertained except avowedly as air-pictures. If the individual who exhibits them, dare to think them practicable, he disgusts scholars and churchmen; and men of talent, and women of superior sentiments, cannot hide their contempt. Not the less does nature continue to fill the heart of youth with suggestions of this enthusiasm, and there are now men,-if indeed I can speak in the plural unmber,more exactly, I will say, I have just been conversing with one man, to whom no weight of adverse experience will make it for a moment appear impossible, that thousands of human beings might exercise towards each other the grandest and simplest sentiments, as well as a knot of friends, or a pair of lovers.

XIII

ART

BECAUSE the soul is progressive, it never quite repeats itself, but in every act attempts the production of a new and fairer whole. This appears in works both of the useful and the fine arts, if we employ the popular distinction of works according to their aim, either at use or beauty. Thus in our fine arts, not imitation, but creation is the aim. In landscapes, the painter should give the suggestion of a fairer creation than we know. The details, the prose of nature, he should omit, and give us only the spirit and splendor. He should know that the landscape has beauty for his eye, because it expresses a thought which is to him good: and this, because the same power which sees through his eyes is seen in that spectacle; and he will come to value the expression of nature, and not nature itself, and so exalt in his copy the features that please him. He will give the gloom of gloom, and the sunshine of sunshine. In a portrait he must inscribe the character, and not the features, and must esteem the man who sits to him as himself only an imperfect picture or likeness of the aspiring original within.

What is that abridgment and selection we observe in all spiritual activity, but itself the creative impulse? for it is the inlet of that higher illumination which teaches to convey a larger sense by simpler symbols. What is a man but nature's finer success in self-explication? What is a man but a finer and compacter landscape than the horizon figures,nature's eclecticism? and what is his speech, his love of painting, love of nature, but a still finer success,—all the weary miles and tons of space and bulk left out, and the spirit or moral of it contracted into a musical word, or the most cunning stroke of the pencil?

But the artist must employ the symbols in use in his day and nation to convey his enlarged sense to his fellow-men. Thus the new in art is always formed out of the old. The Genius of the Hour always sets his ineffaceable seal on the work, and gives it an inexpressible charm for the imagination. As far as the spiritual character of the period overpowers the artist and finds expression in his work, so far it will always retain a certain grandeur, and will represent to future beholders the Unknown, the Inevitable, the Divine. No man can quite exclude this element of Necessity from his labor. No man can quite emancipate himself from his age and country, or produce a model in which the education, the religion, the politics, usages, and arts of his times shall have no share. Though he were never so original, never so wilful and fantastic, he cannot wipe out of his work every trace of the thoughts amidst which it grew., The very avoidance betrays the usage he avoids. Above his will, and out of his sight, he is necessitated, by the air he breathes, and the idea on which he and his contemporaries live and toil, to share the manner of his times, without knowing what that manner is. Now that which is inevitable in the work has a higher charm than individual talent can ever give, inasmuch as the artist's pen or chisel seems to have been held and guided by a gigantic hand to inscribe a line in the history of the human race. This circumstance gives a value to the Egyptian hieroglyphics, to the Indian, Chinese, and Mexican idols, however gross and shapeless. They denote the height of the human soul in that hour, and were not fantastic, but sprung from a necessity as deep as the world. Shall I now add, that the whole extant product of the plastic arts has herein its highest value as history; as á stroke drawn in the portrait of that fate, perfect and beautiful, according to whose ordinations all beings advance to their beatitude?

Thus, historically viewed, it has been the office of art to educate the perception of beauty. We are immersed in beauty, but our eyes have no clear vision. It needs, by the exhibition of single traits, to assist and lead the dormant taste. We carve and paint, or we behold what is carved

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