(or the Art of Living)
(1915)
I suppose you would all be very much surprised if I said that not use
but ornament was the object of life.
I refrain from doing so because so definite a statement makes an
assumption of knowledge which it may always be outside man’s power to
possess. The object of life may for ever remain as obscure to us as its
cause. It seems, indeed, likely enough that the one ignorance hinges
necessarily on the other, and that without knowing the cause of life
neither can we know its object.
The writers of the Scottish Church Catechism, it is true, thought
that they knew why man was created. The social products of their
cocksure theology cause me to doubt it. I would prefer to worship more
ignorantly a more lovable deity than the one which is there presented
to my gaze.
But though we may never know why we are here, we may know, by taking a
little thought and studying the manifestations of the life around us,
what aspects of it make us glad that we are here. And gladness is as
good a guide as any that I know to the true values of life.
Examining life from that standpoint I know of nothing that gives me
more delight than the decoration and embellishment with which man has
overlaid all the mere uses of existence—things which without those
embellishments might not delight us at all—or only as a dry crust of
bread delights in his necessity the starving beggar, or ditch-water one
dying of thirst.
I can scarcely think of a use in life which I enjoy, that I do not
enjoy more because of the embellishment placed about it by man, who
claims to have been made “in God’s image.” Nothing that my senses
respond to with delight stays limited within the utilitarian aspect
on which its moral claims to acceptance are too frequently based—or
remains a benefit merely material in its scope.
When we breathe happily, when we eat happily, and when we love happily,
we do not think of the utilitarian ends with which those bodily
instincts are related. The utilitarian motive connects, but only
subconsciously, with that sense of well-being and delight which then
fills us; and the conscious life within us is happy without stooping to
reason.
Underlying our receptivity of these things is, no doubt, the fact that
our bodies have a use for them. But were we to consider the material
uses alone, our enjoyment would be less; and if (by following that
process) we absorbed them in a less joyous spirit, our physical
benefit, so science now tells us, would be less also.
For some reason or another, which is occasionally hard to define, you
find pleasure in a thing over and above its use; and I want to persuade
you that the finer instinct, the genius of the human race, tends always
in that direction—not to rest content with the mere use of a thing,
but to lay upon it that additional touch of adornment—whether by
well-selected material, or craftsman’s skill, or social amenity, which
shall make it a thing delightful to our senses or to our intelligence.
Take, for instance, so simple a thing as a wine-glass, or a
water-glass. Materially, it is subject to a very considerable
drawback; it is brittle, and if broken is practically unmendable.
From the point of view of utility, strength, cheapness, cleanliness,
it has no advantage over hardware or china. But in its relation to
beverages beautiful in colour and of a clear transparency, glass has a
delightfulness which greatly enhances the pleasure of its use. There
is a subtle relation between the sparkle of the glass, and the sparkle
produced in the brain by the sight and the taste of good wine (or—let
me add, for the benefit of temperance members of my audience—of good
ginger-ale). I think one could also trace a similar delight to the
relations subsisting between glass in its transparency and a draught of
pure water.
That relationship set up between two or more senses (in this case
between the senses of sight, taste and touch) brings into being a new
value which I ask you to bear in mind, as I shall have a good deal to
say about it later—the value of association. The more you examine into
the matter, the more you will find that association is a very important
element for evoking man’s faculties of enjoyment; it secures by the
inter-relation of the senses a sort of compound interest for the appeal
over which it presides. And it is association, with this compound
appeal, which again and again decides (over and above all questions
of use) what material is the best, or the most delightful, to be
employed for a given purpose. You choose a material because it makes a
decorative covering to mere utility. That beauty of choice in material
alone is the beginning of ornament.
When I began, I spoke for a moment as though use and ornament were
opposite or separate principles; but what I shall hope soon to show
is that they are so interlocked and combined that there is no keeping
them apart when once the spirit of man has opened to perceive the true
sacramental service which springs from their union, and the social
discordance that inevitably follows upon their divorce. But as man’s
ordinary definition of the word “use” is sadly material and debased,
and as his approval and sanction of the joys of life have too often
been limited by a similar materialism of thought, one is obliged, for
the time being, to accept the ordinary limiting distinction, so that
the finer and less realised uses of beauty and delight may be shown
more clearly as the true end to which all lesser uses should converge.
Life itself is a usage of material, the bringing together of atoms into
form; and we know, from what science teaches of evolution, that this
usage has constantly been in the direction of forms of life which,
for certain reasons, we describe as “higher.” Emerging through those
forms have come manifestations or qualities, which quite obviously give
delight to the holders of them; and we are able to gather in watching
them, as they live, move, and have their being, that for them life
seems good. It is no part of their acceptance of what has come that
they are here not to enjoy themselves.
Thus we see from the upward trend of creation a faculty for enjoyment
steadily emerging, and existing side by side with fears, risks, and
hardships which the struggle for existence entails—probably an even
increased faculty for enjoyment, as those fears and risks become more
consciously part of their lives. And I question whether we should think
that the wild deer had chosen well, could it resign its apprehension
of death at the drinking-place for the sake of becoming a worm—the
wriggling but scarcely conscious prey of the early bird.
Man (the most conscious prey of death) has also his compensations;
but, wishing to eat his cake and have it, he insists that his increased
self-consciousness is the hall-mark of an immortality which he is
unwilling to concede to others. He sees (or the majority of those see,
who preach personal immortality after death) no moral necessity for
conceding immortality to the worm because the early bird cuts short
its career, or to the wild deer because it enjoys life, shrinks from
death, and endures pain; or to the peewit, because she loves her young;
or to the parrot, because it dies with a vocabulary still inadequate
for expressing that contempt for the human species with which the caged
experience of a life-time has filled its brain. Yet, for these and
similar reasons applied to himself, man thinks that immortality is his
due.
In doing so, he does but pursue, to a rather injudicious extent, that
instinct for the ornamentation and embellishment of the facts of life
which I spoke of to begin with. For whether it be well-founded or not,
a belief in immortality gives ornament to existence.
Of course, it may be bad ornament; and I think it becomes bad ornament
the moment he bases it upon the idea that this life is evil and not
good. If he says “Life is so good that I want it to go on for ever and
ever,” and thinks that he can make it better by asserting that it will
go on for ever and ever, that is a playful statement which may have
quite a stimulating effect on his career, and make him a much more
charming and social and imaginative person than he would otherwise be.
But if he wants a future life merely because he regards this life as a
“vale of misery”—and wants that future life to contain evil as well
as good—a Hell as well as a Heaven (in order that he may visualise
retribution meted out on a satisfactory scale upon those whom he cannot
satisfactorily visit with retribution to-day) then, I think, that it
tends to become bad ornament, and is likely to make him less charming,
less social, and less imaginatively inventive for the getting rid of
evil conditions from present existence than he would be if he had not
so over-loaded his brain with doctrinal adornments.
Still, it is ornament of a kind; and with ornament, good or bad (the
moment he has got for himself leisure or any elbow-room at all in the
struggle for existence) man cannot help embellishing the facts of
life—the things that he really knows.
Now that instinct for embellishment is of course latent in Nature
itself, or we should not find it in man; and it comes of Nature (the
great super-mathematician) putting two and two together in a way which
does not merely make four. When two and two are put together by Nature,
they come to life in a new shape; and man is (up-to-date) the most
appreciative receptacle of that fact which Nature has yet produced. Man
builds up his whole appreciation of life by association—by studying
a method of putting two and two together which comes to something very
much more than a dead numerical result.
This, as I have said, is Nature’s way of giving to our investments in
life a compound interest. Man throws into life his whole capital, body,
soul, and spirit; and as a result of that investment Nature steadily
returns to him year by year—not detached portions of his original
outlay, but something new and different. Out of every contact between
man’s energy and Nature’s, something new arises. And yet, though new,
it is not strange; it has features of familiarity; it is partly his,
partly hers; and if his spirit rises above the merely mechanical, it
is endeared to him by and derives its fullest value from association.
All beautiful work, all work which is of real use and benefit to the
community, bears implicitly within it this mark of parentage—of the
way it has been come by, through patience, skill, ingenuity, something
more intimate and subtle than the dead impenetrable surface of a thing
mechanically formed without the accompaniment either of hope or joy.
This creation of new values by association (which you can trace through
all right processes of labour) is seen even in things which have very
little of human about them.
The germ of its expression is to be found in that simplest of
arithmetic propositions to which I have just referred: two and two
make—not two twos but four, which is, in fact, a fresh concept; and
the mind that can embrace so much—the idea of four as a number with
an identity of its own has already raised itself above the lowest
level of savagery. In that mind something has begun out of which the
social idea may presently be developed; for the man who has conceived
the number four will presently be identifying his new concept with a
variety of correspondencies under fresh aspects: he will discover that
certain animals have four legs, whereas, until then, his view of them
was rather that of the child who said that a horse had two legs in
front, two legs behind, and two at each side—a statement which shows,
indeed, that the horse has been earnestly considered from as many
points of view as are sometimes necessary to enable a Cabinet Minister
to make up his mind, but, for all that, never as a whole; and in such a
mind, though the identity of the horse may be established from whatever
point of view he presents himself, the thought of the horse, as a being
of harmoniously related parts, having order and species, has not yet
been established. Until a man can count, and sum up the results of
his counting in synthesis, Nature is composed merely of a series of
units—and the mind cannot begin that grouping and defining process
which leads to association and from that to the development of the
social idea.
You will remember in Alice through the Looking Glass, when the two
Queens set to work to test her educational proficiency—you will
remember how the White Queen says (in order to discover whether Alice
can do addition) “What’s one, and one, and one, and one, and one, and
one?”
“I don’t know,” says Alice, “I lost count.”
“She can’t do addition,” says the White Queen.
Well—she “lost count,” and, therefore, that series of ones failed to
have any fresh meaning or association for her.
In the same way the primitive savage loses count; beyond three, numbers
are too many for him—they become merely a “lot.” But war and the
chase begin to teach him the relative value of numbers; and he finds
out that if one lot goes out to fight a bigger lot, the smaller lot
probably gets beaten; so that, before long, calculation of some sort
becomes necessary for the preservation of existence. He finds out also
(and this is where ornament begins to come in) that a certain amount of
wilful miscalculation has a beauty and a value of its own. So, after
going out to fight ten against ten, and defeating them, he comes back
and says to his wives and the surrounding communities by whom he wishes
to be held in awe—“My lot killed bigger lot—much, much bigger lot.”
And so, when he comes later on to set down his wilful miscalculations
in records of scripture, he provides delightful problems for the Bishop
Colensos of future ages—problems the undoing of which may shake to
the foundations the authority of documents which some mid-Victorian
school of Christianity has hitherto held to be divinely and verbally
inspired—not realising that the normal tendency of human nature is
to be decorative when writing its national history or when giving its
reasons for having plunged into war.
You begin now, then, to perceive (if you did not before), the
importance of ornamental association, even when confined to matters of
arithmetic; and the moral value to future ages not merely of calculated
truths but of calculated untruths.
But this merely figurative illustration of the quickness of the human
brain, in its primitive stage, to use mathematics to unmathematical
ends (or science to ends quite unscientific) does not bring us very far
upon the road to that self-realisation, in ornament rather than in use,
which I hope to make manifest by tracing to their most characteristic
forms of expression the higher grades of civilization.
And I shall hope, by and by, to show that you cannot be social without
also being ornamental; it is the beginning of that connecting link
which shall presently make men realise that life is one, and that all
life is good.
Take, to begin with, the earliest instruments by which primitive man
began raising himself from the ruck of material conditions; his
weapons—first of the chase, and then of war. No sooner had he proved
their use than he began to ornament them—to make them records,
trophies, and so—objects of beauty. He cannot stop from doing so;
his delight in the skill of his hands breaks out into ornament. It is
the same with the arts of peace, the work of the woman-primitive—she
moulds a pot, or weaves a square of material, and into it—the moment
she has accomplished the rudiments—goes pattern, beauty, something
additional and memorable that is not for use material, but for use
spiritual—pleasure, delight.
And that quite simple example, from a time when man was living the
life, as we should now regard it, of a harried and hunted beast—with
his emergence from surrounding perils scarcely yet assured to him—goes
on consistently up and up the scale of human evolution; and the more
strongly it gets to be established in social institutions, the more
noble is likely to be the form of civilization which enshrines it. And
the less it shows, the less is that form of civilization likely to be
worthy of preservation, or its products of permanent value to the human
race.
It is not the millionaire who leaves his mark on the world so that
hereafter men are glad when they name him; it is the “maker” who
has turned uses into delights; not the master of the money-market,
but the Master of Arts. The nearest thing we have on earth to that
immortality which so many look to as the human goal lies in those forms
of ornament—of embellishment over and above mere use—which man’s
genius has left to us in architecture, poetry, music, sculpture, and
painting. Nothing that stops at utility has anything like the same
value, for the revelation of the human spirit, as that which finds its
setting in the Arts—the sculptures of Egypt and Greece, the Gothic
and Romanesque cathedrals of France, England, Germany and Italy, the
paintings of the Renaissance, the masterpieces of Bach and Beethoven,
the poems and writings all down the ages of men comparatively poor in
monetary wealth, but rich beyond the dreams of avarice in their power
to communicate their own souls to things material and to leave them
there, when their own bodies have turned to dust. In the embellishment
they added to life they bestowed on the age in which they lived its
most significant commentary. There you will find, as nowhere else, the
meaning and the interpretation of the whole social order to which these
forms were as flower and fruit. Ancient Greece is not represented to us
to-day by its descendants in the flesh (as an expression of that life
they have ceased to exist) but by those works of art and philosophy
through which men—many now nameless—made permanent the vision of
delight to which, in the brief life of the flesh, they had become
heirs. The self-realisation of that age—all the best of it that we
inherit—comes to us through embodiment in forms transcending material
use.
Run your mind’s eye through the various peoples and nationalities of
Europe—of the world—and you will find that their characteristic
charm—that which is “racy” of their native soil, marking the
distinction between race and race, lies in the expression they have
given to life over and above use. If we had kept to use, race would
have remained expressionless. Race expresses itself in ornament; and
even among a poor peasant people (and far more among them than among
the crowded and over-worked populations of our great cities where
we pursue merely commercial wealth) comes out in a characteristic
appreciation of the superabundance of material with which, at some
point or another, life has lifted them above penury. In the great
civilizations it extends itself over a rich blend of all these, drawn
from far sources; and the more widely it extends over the material uses
of life, the higher and the more permanent are the products of that
form of civilization likely to be. What does it mean but this?—man is
out to enjoy himself.
Having said that, need I add that I put a very high interpretation upon
the word “joy”?
To that end—man’s enjoyment of life—all art is profoundly useful. I
put that forward in opposition to the specious doctrine of Oscar Wilde
that “all art is entirely useless.” But it is usefulness extended in a
new direction; leaving the material uses, by which ordinary values are
measured, it shifts to the spiritual; and by the spiritual I mean that
which animates, vitalizes, socializes.
To that end it may often be—and is generally the case—that, in the
material sense, art is a useless addition or refinement upon that which
was first planned merely for the service of man’s bodily needs. Yet
where the need is of a worthy and genuine kind, art never ceases to
rejoice at the use that is underlying it. This can be clearly seen in
architecture, where the beauty of design, the proportion, the capacity
of the edifice—though far transcending the physical need which called
it into being—remain nevertheless in subtle relation thereto, and give
to it a new expression—useless indeed to the body—but of this use to
the mind, that it awakens, kindles, enlivens, sensitizes—making it to
be in some sort creative, by perception of and response to the creative
purpose which evoked that form. You cannot enter a cathedral without
becoming aware that its embracing proportions mean something far more
than the mere capacity to hold a crowd; its end and aim are to inspire
in that crowd a certain mental attitude, a spiritual apprehension—to
draw many minds into harmony, and so to make them one—a really
tremendous fact when successfully achieved.
Now nothing can be so made—to awaken and enlarge the spirit—without
some apparent wastefulness of material or of energy. A cathedral will
absorb more stone, and the labour of more men’s lives, before it is
finished, than a tenement of equal housing capacity which aims only at
providing warmth and a cover from the elements. To provide so much joy
and enlargement to the human spirit, a kind of waste, upon the material
plane, is necessary; and the man without joy or imagination in his
composition is likely to say on beholding it: “Why was all this waste
made?”
Bear in mind this accusation of waste which can constantly be made,
from a certain standpoint against all forms of joy evolved by the art
of living—possibly against all forms of joy that you can name; for all
joy entails an expenditure of energy, and for those who do not realise
the value of joy such expenditure must necessarily seem wasteful.
But when a man employs hand or brain worthily, straightway he discovers
(latent within that connection) the instinct of delight, of ornament.
He cannot rejoice in his craftsmanship without wishing to embellish
it—to place upon it the expression of the joy which went with the
making. All that he does to this end is apparently (from the material
point of view) useless; but from the spiritual it is profoundly useful;
and from the spirit (and this I think is important) it tends to re-act
and kindle the craftsman to finer craftsmanship than if he had worked
for utility alone.
Now if spirit thus acts on matter—achieving its own well-being only
through a certain waste of material, or expenditure of labour upon the
lower plane, yet communicating back to matter influences from that
state of well-being to which it has thus attained—may it not be that
waste of a certain kind (what I would call “selective waste” versus
“haphazard waste”) is the concomitant not only of spiritual but of
material growth also? May it not be that evolution has followed upon a
course of waste deliberately willed and insisted on—and that without
such waste, life—even material life—had not evolved to its present
stage?
We see a certain wastefulness attaching to many of the most beautiful
biological manifestations in the world. Up to a certain point, the
construction of flower, bird, beast, fish, shows a wonderful economy of
structure, of means to end (it is the same also in the arts). But there
comes a point at which Nature, “letting herself go,” becomes fantastic,
extravagant—may one not say “wilful”?—in the forms she selects for
her final touches of adornment. And is it not nearly always when the
matter in hand is most closely related to the “will to live”—or, in
other words, in relation to the amative instincts—that the “art of
living” breaks out, and that Nature quits all moderation of design and
becomes frankly ornamental and extravagant? Just at the point where to
be creative is the immediate motive, where, in the fulfilment of that
motive, life is found to be a thing of delight, just there, Nature,
being amative, becomes playful, exuberant and ornamental.
There are some birds which, in this connection, carry upon their
persons adornments so extravagant that one wonders how for so many
generations they have been able to live and move and multiply, bearing
such edifices upon their backs, their heads, their tails—that they
were not a crushing hindrance to the necessary affairs of life. They
certainly cannot have been a help; and yet—they still persist in them!
Taking, then, these natural embryonic beginnings as our starting point,
I would be inclined to trace out the living value of art and ornament
somewhat upon these lines: Exuberance—the emergence of beauty and
adornment, in addition to the mere functional grace arising out of
fitness for use—has always been going on through the whole process
of creation among animate nature. We see it established in a thousand
forms, not only in bird, beast and reptile, but in the vegetable
world as well. The tendency of all life that has found a fair field
for its development, is to play with its material—to show that it
has something over and above the straight needs imposed on it by the
struggle for existence, which it can spare for self-expression.
It has been lured on to these manifestations mainly by that “will
to live” which underlies the attractions of sex. That exuberance
is an essential feature of the evolutionary process at the point
where self-realisation by self-reproduction is the game to play.
Under that impulse the selective principle begins to assert itself,
and straightway the outcome is ornament. Self-realisation (by
self-reproduction under all sorts of images and symbols) is the true
basis of ornament and of art: self-realisation!
The spirit of man, moving through these means, impresses itself
reproductively on the spirits of others with a far better calculation
of effect than can be secured through bodily inheritance. For in
physical parentage there is always the chance of a throw-back to
tainted origins; the sober and moral citizen cannot be sure of sober
and moral children in whom the desire of his soul shall be satisfied.
They may be drawn, by irresistible forces, to take after some giddy and
disreputable old grandfather or grandmother instead of after him; for
in his veins run the parental weaknesses of thousands of generations;
and over the racial strain that passes through him to others he
possesses no control whatever. But the man who has given ornament to
life in any form of art—though he commits it to the risks and chances
of life, the destructive accidents of peace and war—is in danger
of no atavistic trick being played upon the product of his soul; he
is assured of his effect, and so long as it endures it reflects and
represents his personality more faithfully than the descendants of his
blood.
Now for the satisfaction of that instinct, the perpetuation of name
and identity is not necessary. The artist would not (if told that his
self-realisation was destined to become merged anonymously in the
existence of fresco, or canvas, or mosaic)—he would not therefore lay
down his mallet or his brush, and say that in that case the survival
of these things to a future age was no survival for him. The maker of
beautiful inlay would not lose all wish to do inlay if the knowledge
that he, individually, as the craftsman were destined to oblivion.
Let the future involve him in anonymity as impenetrable as it liked,
he would still go on expressing himself in ornament; self-realisation
would still be the law of his being.
That is the psychology of the artist mind—of that part of humanity
which produces things that come nearest, of all which earth has to
show, to conditions of immortality, and so presumably are the most
satisfying to man’s wish for continued individual existence. The makers
of beauty do not set any great store on the continuance of their
names—the continuance of their self-realisation is what they care
about.
But the possessors of these works of beauty do very often make a great
point of having their own names perpetuated, even though the vehicle is
another personality than their own. And so very frequently we have the
names passed down to us of these parasites of immortality—the tyrants
for whom palaces, or arches, or temples were built—but not the names
of the artists who designed them, whose immortality they really are.
And though the official guide may refresh our memory with snippets
of history, and say this, that, or the other about the name to which
the temple remains attached—the really important thing that lives,
survives, and influences us is not the externally applied name, but the
invested beauty which has no name, but is soul incarnate in stone to
the glory of God—the self-realisation of a being who (but for that)
has passed utterly from remembrance.
That, as I have said before, is the nearest thing to immortality that
we know. And it comes to us, in a shape which, (so to be informed with
immortality) cannot limit itself to the demands of use. When all the
claims of use are satisfied, then the life of personality begins to
show—the fullest and the most permanent form of self-realisation known
to man on earth lies in ornament.
Of course, when I say “ornament,” I use the word in a very wide sense.
What I have said of sculpture, painting or architecture, applies
equally to poetry, music or philosophy. I would even go further, and
apply it in other directions where no material matrix for it exists.
Every department of mental activity has its ornament—the culminating
expression of that particular direction of the human will. Faith is
the ornament of destiny, Hope the ornament of knowledge, Love the
ornament of sex. Without these ornaments destiny and knowledge and sex
would have no beauty that the soul of man should desire them. Those
additions or glosses were quite unnecessary to existence—up to a
point; for millions of years the world did without them, and Evolution
managed to scramble along without faith, without hope, without love.
But Evolution itself brought them into being; and then for millions of
years they existed in germ, without self-consciousness; but steadily,
as they germinated, they produced beauty and a sense of design in
their environment. Co-ordination, dovetailing (peaceful word!), the
harmonising and gentle effect of one life upon another, as opposed to
the savage and predatory, began to have effect. And in response came
ornament; faith, hope and love showed their rudimentary beginnings even
in the lower animals.
One of the most perfectly decorative objects that I have ever seen in
the animal world (you will find it in still-life form in our Natural
History Museum) is the device by which a certain small possum has
taught her young to accompany her from branch to branch. Along her back
she seats her litter, then over their heads like the conducting-wire
of a tram-line she extends her tail—and then (each like an electric
connecting rod) up go the little tails, make a loop, adjust themselves
to the maternal guide-rope, and hang on. And there, safe from upset, is
the family-omnibus ready to start!
Of course, you may say that is use; but it is use in which the
spiritualities, faith, hope and love, begin to appear; and in the
gentleness of its intention it forms a basis for the up-growth
of beauty. Now all the arts are, in the same way, first of all
structural—having for their starting-point a sound and economic use of
the material on which they are based. Music, architecture, poetry, and
the rest were all, to begin with, the result of an instinctive choice
or selection, directed to the elimination of superfluities, accidents,
excrescences—which to the craftsman’s purpose are nothing.
Nature, in her seed-sowing, has gone to work to propagate by profusion;
her method is to sow a million seeds so as to make sure that some may
live; thus she meets and out-matches the chances that are against her.
The seed of Art sprang up differently; maker-man took hold of the one
selected seed, not of a dozen, or of a thousand dozen promiscuously,
and bent his faculties on making that one seed (his chosen material)
fit to face life and its chances: if a house—walls and roof
calculated to keep out the rain and resist the force of storms: if a
textile—fabric of a staple sufficient to resist the wear and tear to
which it would be subjected: if a putting together of words meant to
outlast the brief occasion of their utterance—then in a form likely
to be impressive, and therefore memorable; so that in an age before
writing was known they might find a safe tabernacle, travelling from
place to place in the minds of men. And similarly with music—a system
of sounds so ruled by structural law as to be capable of transmission
either by instrument, or by voice disciplined and trained to a certain
code of limitations. And being thus made memorable and passed from
mouth to mouth, from one place to another, and from age to age, they
acquired a social significance and importance; till, seeing them thus
lifted above chance, man set himself to give them new forms of beauty
and adornment.
And the governing motive was, and always has been, first man’s wish to
leave memorable records—beyond the limits of his own generation—of
what life has meant for him; and secondly (and this is the more
intimate phase) the delight of the craftsman in his work, the
exuberance of vital energy (secure of its structural ground-work)
breaking out into play. “See,” it says, “how I dance, and gambol, and
triumph! This superfluity of strength proves me a victor in my struggle
to live.”
Nothing else does; for if (having survived the struggle) man only lives
miserably—scrapes through as it were—the question in the face of so
poverty-stricken a result, may still be—“Was the struggle worth it?”
And so by his arts and graces, by his adornment of his streets, temples
and theatres, by his huge delight in himself, so soon as the essentials
of mere material existence are secured to him, man has really shown
that life is good in itself, that he can do well enough without the
assurance of personal immortality held out to him by the theologians.
Whether that be or be not his reward hereafter, he will still strive to
express himself; but for that end mere use alone will not satisfy him.
We have seen, then, how man, in his social surroundings, begins to
secure something over and above the mere necessities of life; and so,
after providing himself with a certain competence of food, clothing
and shelter, has means and energy left for the supply of luxuries,
ornaments, delights—call them what you will. And according to
the direction in which he flings out for the acquisition of these
superfluities—so will his whole manhood develop, or his type of racial
culture be moulded.
Far back in the beginnings of civilization one of the first forms
taken by this surplus of power and energy over mere necessity was the
acquisition of slaves and wives. Civilization then began to ornament
itself with two modes of body-service—the menial attendance of the
slave upon his master, and the polygamous sexual attendance of the
woman upon her lord.
To-day we think that both those things were, from a moral point of
view, bad ornament. But you cannot look into the history of any
civilization conducted on those lines without seeing that they
decorated it—and that, out of their acceptance, came colour,
pomp, splendour, means for leisure, for enjoyment—for a very keen
self-realisation of a kind by the few at the expense of the many. And
the masterful few made that form of decorated civilization more sure
for themselves by extending a good deal of the decorative element
to the subservient lives around them. The slaves wore fine liveries
and lorded it over lower slaves, the favourite wives lived in luxury
and laziness, eating sweets and spending their days in the frivolous
mysteries of the toilet.
At a certain point in the social scale this form of ornamental
existence produced great misery, great hardships, great abasement. But
it was not instituted and maintained for that reason. Those underlying
conditions were a drawback, they were a misuse of human nature employed
as a basis for that ornamental superstructure to build on. And out of
that underlying misuse came the weakness and the eventual decay of that
once flourishing school of ornament.
But when that school of ornament was threatened by other schools, it
was ready to fight to the death for its ornamental superfluities—for
polygamy, for slavery, for power over others, which had come to mean
for it all that made life worth living! Life was quite capable of
being carried on without those things—was, and is, happily lived by
other races to the accompaniment of another set of ornaments which
those races think more enjoyable. But no race will consent to live
without some sort of ornament of its own choosing; and when its choice
of ornaments, or of social superfluities, over and above the needs
of existence, is seriously threatened from without it declares that
it is fighting not merely for liberty but for existence. Yet we know
quite well that the people of invaded and conquered States continue
in the main to exist—they continue even to wear ornaments; but these
are apt to be imposed ornaments galling to the national pride. And so
to-day, in the midst of a vast belligerency, we have committees and
consultations going on, to see to it lest, at the end of the war, under
German dominance, our women should have their future fashions imposed
on them from Berlin instead of from Paris, a fearful doom for any lady
of taste to contemplate.
The example may seem frivolous, but it is a parable of the truth;
we call our ornaments our liberties, and if we cannot ourselves die
fighting for them, we make others die for us.
Let us take up (for illustration of the same point) another stage
of civilization—that of ancient Greece. In Greece the city was the
centre of civilization, and its public buildings became the outward and
visible sign of the people’s pride of life and of their sense of power.
The fact that their private dwellings were very simple, and that they
expended nearly the whole of their artistry upon public works (things
to be shared and delighted in by all the citizens in common) had a
profound influence upon their civilization. That new social ideal of
civic pride found its way irresistibly into ornament. You could not
have had civic pride in anything like the same degree without it.
But Greek civilization did not fall into decay because of the beauty
and perfection with which it crowned itself in the public eye, but
because of certain underlying evils and misuses in the body politic—in
which again slavery and the subjection of women had their share. Greek
civilization fell because it failed to recognise the dignity of all
human nature; it reserved its sense of dignity for a selected race
and class; it failed to recognise the dignity of all true kinds of
service, and prided itself in military service alone—in that and in
the philosophies and the arts. It built a wonderful temple to its gods,
but failed in a very large degree to take into God the whole body of
humanity over which it had control. And so, Greek civilization broke up
into portions of an unimportant size and perished.
At a later day—and again with the city as centre to its life of
self-realisation—we get the great period of the Italian Renaissance,
a period in which civic and feudal and ecclesiastical influences
alternately jostled and combined.
And out of these three prides arose a wonderfully complex
art—tremendously expressive of what life meant for that people. And
you got then (for the first time, I think), grouped under the civic
arm, a new life-consciousness—the consciousness of the guilds, the
workers, and the craftsmen. The dignity of labour began to assert
itself; and when it did, inevitably it broke into ornament on its own
account—not at the bidding of an employer, but for the honour and
glory of the worker himself. And so, from that date on, the homes and
halls and churches of the guilds became some of the noblest monuments
to what life meant for men who had found joy in their labour.
Now that did not come till the craftsman had won free from slavery
and from forced labour; but when he was a freeman, with room to turn
round, he built up temples to his craft, to make more evident that the
true goal of labour is not use but delight. And only when it fell back
into modern slavery at the hands of commercial capitalism, only then
did labour’s power of spontaneous expression depart from it and become
imitative and debased.
I could take you further, and show you (among the survivals from our
England of the Middle Ages) the “joy of the harvest” expressed in the
great granaries and tithe-barns which still crown like abbey-churches
the corn-lands of Home. Concerning one of these William Morris said
that it stood second in his estimation among all the Gothic buildings
of Europe! Think of it!—of what that means in the realisation of
life-values by the age which had a mind so to celebrate man’s rest
after the labour of the harvest! In those days England was called
“merry” and foreigners who came to her shores reported as a national
characteristic the happy looks of her people: even their faces showed
adornment! And thus it is that beautiful use always clothes itself in
beauty.
I have said that all art is useful. To many that may have seemed a
very contentious statement. But how can one separate beauty from use
if one holds that everything which delights us is useful? On that
statement there is only one condition I would impose. The use in
which we delight must not mean the misuse or the infliction of pain
on others. In those periods of civilization to which I have referred
(so magnificent in their powers of self-discovery and self-adornment),
there were always dark and cruel habitations where the “art of living”
was not applied. They were content that the beauty on which they prided
themselves should be built up on the suffering, the oppression, or the
corruption of others. In the lust of their eyes there was a blind spot,
so that they cared little about the conditions imposed by their own
too arrogant claim for happiness on the lives that were spent to serve
them. And out of their blindness came at last the downfall of their
power.
So it has always been, so it always must be. I believe that beauty,
delight, ornament, are as near to the object of life as anything that
one can name, and that through right uses we attain to these as our
goal. But it is no good claiming to possess delightful things if we do
not see to it that those who make them for us have also the means to
live delightfully.
If man cannot make all the uses and services of life decent and
wholesome as a starting-point, neither can he make life enjoyable—not,
I mean, with a good conscience. If he would see God through beauty, he
must see Him not here and there only, but in the “land of the living”;
else (as the psalmist said) his spirit must faint utterly.
Our life is built up—we know not to what ultimate end—on an infinite
number of uses, functions, mechanisms. These uses enable us to live;
they do not necessarily enable us to enjoy. You can quite well imagine
the use of all your senses and organs so conditioned that you could
not enjoy a single one of them, and yet they might still fulfil their
utilitarian purpose of keeping you alive.
I need not rehearse to you in troublesome detail conditions of life
where everything you see is an eyesore, every touch a cause of
shrinking, every sound a discord, where taste and smell become a revolt
and a loathing.
Our modern civilization derives many of its present comforts from
conditions such as these under which thousands, nay millions, of
subservient human lives become brutalised. So long as we base our
ideal of wealth on individual aggrandisement, and on monetary and
commercial prosperity, and not (as we should do) upon human nature
itself—making it our chief aim that every life should be set free for
self-realisation in ornament and delight—so long will these things be
inevitable.
But when we, as men and women, and as nations, realise that human
nature is the most beautiful thing on earth (in its possibilities, I
mean) then surely our chief desire will be to make that our wealth here
and now, and out of it rear up our memorial to the ages that come after.