In this lecture I have undertaken to consider
certain beliefs and emotions relating to beauty,
and to inquire how far their value is affected
by our views as to their origin.
The poverty of language, however, makes
it rather difficult to describe with any exactness
the scope of such an inquiry. Beauty is
an ill-defined attribute of certain members
of an ill-defined class; and for the class itself
there is no very convenient name. We might
describe its members as “objects of æsthetic
interest” always bearing in mind that this
description (as I use it) applies to objects
of the most varying degrees of excellence—to
the small as well as the great, the trifling as
well as the sublime: to conjuring and dancing;
to literature, art, and natural beauty.
It follows from this description that, while
all things of beauty possess æsthetic interest,
not all things of æsthetic interest would in
common parlance be described as beautiful.3
They might, for example, display wit, or finish,
or skill. They might, therefore, properly excite
admiration. But beauty is a term whose
use may well be confined to the qualities
which excite only the highest forms of æsthetic
interest, and it is thus I propose to employ it.
Now what are the characteristics which
distinguish objects of æsthetic interest from
interesting objects generally? I will mention
two.
In the first place, the value of æsthetic
objects depends on the intrinsic quality of
the emotions they arouse, and not upon the
importance of any ulterior purpose which
they may happen to subserve. In the second
place, the emotions themselves, whatever be
their value, must be contemplative. They
must not prompt to action or reach forward
to any end. They must be self-sufficient, and
self-contained.
Of course, I do not suggest that works of
art are useless. A building may be beautiful,
although it is also convenient. A sword most
delicately damascened may be an admirable
engine of destruction. We may even go
further and admit that utility unadorned may
have about it an æsthetic flavour. Nice
adjustment and fitness exquisitely accomplished
are without doubt agreeable objects of
contemplation. But, in the first two of these
cases, beauty is deliberately added to utility,
not organically connected with it. An ill-proportioned
building might have been equally
fitted for its purpose; a plain sword might
have been equally lethal. In the third case
the connection between utility and æsthetic
interest is organic, yet undesigned. From
the very nature of the case it forms no part
of the purpose for which the mechanism was
contrived.
Again—when I say that æsthetic interest
does not prompt to action, I am, of course,
speaking of those who enjoy, not of those
who are laboriously trying to enjoy, still less
of those who create what is to be enjoyed.
It commonly requires effort, conscious and
unconscious, to be a good spectator; it always
requires effort to become a good artist. Yet
these are no real exceptions to the principle.
Æsthetic interests, once aroused, do not
prompt to action; and it is, I conceive, of
their essence that they should not. The most
emotional spectator does not rush to save
Desdemona from Othello; and, though tragedy
may (or may not) purify by “pity and terror,”
the pity does not suggest a rescue, nor the
terror urge to flight.
Now these characteristics of æsthetic emotions
and beliefs raise problems of great
interest. How came they to be what they
are? To what causal process are they due?
In the case of ethics (to anticipate a discussion
that will occupy us in the next lecture) the
earlier stages at least are seemingly due to
selection. They lead to action, and to action
which has survival value. But what survival
value have æsthetic judgments and feelings
at any stage of culture? It is true that
actions which are sometimes represented as
primitive forms of artistic creation play their
part in the drama of animal courtship. Some
animals dance, some sing, some croak; some
flaunt colours, some exhale smells. Apes (it
seems) make inarticulate noises which (according
to Spencer) were the humble beginnings,
not only of speech, but of music. I own that
to me this sort of explanation leaves our
æsthetic interests quite unexplained. Grant,
for the sake of argument that, were our
knowledge sufficient, we could trace a continuous
history of musical emotions from the
simple satisfaction excited in the female ape
by the howling of the male, down to the
delicate delights of the modern musician,
should we be nearer an answer to the problem
of æsthetic causation? I doubt it. Certainly
we should not have succeeded in coupling
the development of our feelings for beauty to
the general process of organic evolution. Before
this can be satisfactorily accomplished
it must be shown, not merely that the tastes
of anthropoid apes are useful to anthropoid
apes, but that the tastes of men are useful
to men, and in particular that the tastes of
civilised men are useful to civilised men.
Nor would even this be enough unless usefulness
be carefully defined in terms of survival
value. It must, in other words, be shown
that communities rich in the genius which
creates beauty and in the sensibility which
enjoys it, will therefore breed more freely
and struggle more successfully than their less
gifted neighbours. And I am not aware that
any attempt to establish such a doctrine has
ever been seriously undertaken.
But, if so, our æsthetic sensibilities must be
regarded (from the naturalistic standpoint)
as the work of chance. They form no part
of the quasi design which we attribute to
selection; they are unexplained accidents of
the evolutionary process. This conclusion
harmonises ill with the importance which
civilised man assigns to them in his scheme
of values. On this point, at least, there reigns
a singular unanimity. However people may
differ as to what we should admire, all are
agreed that we should admire something.
However they may differ about the benefits to
be derived from æsthetic, all are agreed that
the benefits are great. The pessimist finds
in art the solitary mitigation of human
miseries. A certain type of agnostic treats
it as an undogmatic substitute for religion.
He worships beauty, but nothing else; and
expects from it all the consolations of religious
experience without the burdens of religious
belief. Even those who would refuse to art
and literature this exalted position, are
prepared to praise them without stint. They
regard the contemplative study of beautiful
things as a most potent instrument of civilisation;
in countless perorations they preach
its virtues; delicacy of æsthetic discrimination
they deem the surest proof of culture,
and the enjoyment of æsthetic excellence its
highest reward.
The case is apparently, but not really,
different when we turn from beauty to the
minor æsthetic interests—the popular novel,
the music-hall song, the cricket-match (as
spectacle), the cinematograph, and so forth.
Nobody, it is true, greatly praises these things,
but multitudes greatly enjoy them. The space
they occupy in the life of the community has
increased beyond computation. As locomotion
becomes easier and leisure greater
that space will increase yet more. This
may be good or bad; but none will deny
that it is important. What a paradox this
seems! Theories of selection were devised
to explain the complex structures and the
marvellous adjustments of the organic world
without needlessly postulating design. We
should think but poorly of them if they
accounted for some organs by methods quite
inapplicable to others—if they showed us,
for example, how the eye had developed,
but appealed to some wholly different principle
(say special creation) when they set to
work on the ear; or taught that the nose
must be regarded as an evolutionary accident
not to be explained on any general principle
at all. If what required explanation was of
small biological importance, this last hypothesis
would not seem perhaps startling. The
most convinced selectionist is not obliged to
suppose that selection eliminates everything
which does not make for survival. Useless
variations may be spared if they be harmless.
Even harmful variations may be spared
if they be linked to variations so advantageous
that their joint effect proves beneficial
on balance. But is this the case with æsthetic?
Are we to treat as unconsidered
trifles our powers of enjoying beauty and of
creating it? Can we be content with a world-outlook
which assigns to these chance products
of matter and motion so vast a value measured
on the scale of culture, and no value worth
counting measured on the scale of race survival?
If design may ever be invoked where
selection fails and luck seems incredible,
surely it may be invoked here.
These observations are applicable, more or
less, to the whole body of our æsthetic interests—whether
they be roused by objects we deem
relatively trivial, or by objects which are
admittedly rare and splendid. But while
neither fit comfortably into a purely naturalistic
framework, it is only the second which,
in virtue of their intrinsic quality, demand a
source beyond and above the world of sense
perception. Here, then, we are face to face
with a new question. So far we have been
concerned to ask whether that which is
admittedly valuable can be plausibly attributed
to chance. Now we must ask whether that
which is attributed to chance can thereafter
retain its value. Of these questions the first
is germane to the ordinary argument from
design. It is the second which chiefly concerns
us in these lectures.
Perhaps an affirmative answer may seem
to have been already given by implication.
The admission that the second problem only
touches the highest values in the æsthetic
scale may be thought to render the whole
inquiry vain. And the admission cannot be
avoided. No one supposes that when we are
looking (for example) at an acrobat, it matters
in the least what we think of the universe.
Our beliefs and disbeliefs about the Cosmic
order will not modify either in quantity or
quality such satisfaction as we can derive
from the contemplation of his grace and agility.
Where, then, it will be asked, do we reach the
point in the æsthetic scale at which values
begin to require metaphysical or theological
postulates? Is it the point where beauty
begins? If so, who determine where this lies;
and by what authority do they speak?
Evidently we are here on difficult and delicate
ground. On questions of taste there is
notoriously the widest divergence of opinion.
Nor, if we regard our æsthetic interests simply
as the chance flotsam and jetsam of the
evolutionary tides, could it well be otherwise.
If there be practically no “limits of deviation”
imposed by selection; if, from a survival
point of view, one taste be as good as another,
it is not the varieties in taste which should
cause surprise so much as the uniformities.
To be sure, the uniformities have often no
deep æsthetic roots. They represent no strong
specific likes and dislikes shared by all men at
a certain stage of culture, but rather tendencies
to agreement (as I have elsewhere called
them), which govern our social ritual, and
thereby make social life possible. We rail
at “fashion,” which by an unfelt compulsion
drives multitudes simultaneously to approve
the same dresses, the same plays, the same
pictures, the same architecture, the same
music, and the same scenery. We smile at the
obsequious zeal with which men strive to
admire what the prophets of the moment
assure them is admirable. But admitting, as
I think we must, that these prophets neither
possess any inherent authority, nor can point
to any standard of appeal, we must also admit
that if in Art there were no orthodoxies, if the
heresies themselves were unorganised, if every
man based his æsthetic practice on a too
respectful consideration of his own moods and
fancies, the world we live in would be even
more uncomfortable than it is.
However this may be, it is clear that this
second portion of my argument, which is not
based, like the first, on any objective survey
of the part played in human affairs by general
æsthetic interests, has special difficulties to
surmount. For it rests on experiences of
high emotion rare for all, unknown to many,
roused in different men by different objects.
How can any conclusions be securely based
on foundations at once so slender and so
shifting?
I agree that the values dealt with in this
part of the argument are not values for everybody.
Yet everybody, I think, would be prepared
to go some way in the direction I desire.
They would acknowledge that, in art, origin
and value cannot be treated as independent.
They would agree that those who enjoy poetry
and painting must be at least dimly aware of
a poet beyond the poem and a painter beyond
the picture. If by some unimaginable process
works of beauty could be produced by
machinery, as a symmetrical colour pattern is
produced by a kaleidoscope, we might think
them beautiful till we knew their origin, after
which we should be rather disposed to describe
them as ingenious. And this is not, I
think, because we are unable to estimate works
of art as they are in themselves, not because
we must needs buttress up our opinions by extraneous
and irrelevant considerations; but
rather because a work of art requires an artist,
not merely in the order of natural causation,
but as a matter of æsthetic necessity. It conveys
a message which is valueless to the recipient,
unless it be understood by the sender.
It must be expressive.
Such phrases are no doubt easily misunderstood.
Let me, therefore, hasten to add that
by an “expressive” message I do not mean
a message which can be expressed in words.
A work of art can never be transferred from
one medium into another, as from marble to
music. Even when words are the medium
employed, perfect translation is impossible.
One poet may paraphrase, in a different language,
the work of another; and a new work of
art may thus be produced. But however closely
it follows the original, it will never be the same.
On the other hand, if the medium used be (for
example) colour, or sound, or stone, the work
of art cannot be translated into words at all.
It may be described; and the description
may better the original. Yet it cannot replace
it. For every work of art is unique; and
its meaning cannot be alternatively rendered.
But are we, therefore, to conclude that it has
no meaning? Because its message cannot
be translated, has it therefore no message?
To put these questions is to answer them.
Many people, however, who would travel
with me so far would refuse to go further.
They would grant that a work of art must
be due to genius, and not, in the first instance,
to mechanism or to chance. But whether, in
the last resort, mechanism or chance has produced
the genius, they would regard as, from
the æsthetic point of view, quite immaterial.
Music and poetry must have a personal
source. But the musician and the poet may
come whence they will.
And perhaps, in very many cases, this is so;
but not, I think, in all, nor in the highest. If
any man will test this for himself, let him recall
the too rare moments when beauty gave him
a delight which strained to its extremest limit
his powers of feeling; when not only the small
things of life, but the small things of Art—its
technical dexterities, its historical associations—vanished
in the splendour of an unforgettable
vision; and let him ask whether
the attribution of an effect like this to unthinking
causes, or to an artist created and
wholly controlled by unthinking causes, would
not go far to impair its value.
To such an appeal it is not difficult to raise
objections. It may be said, for example, that,
under the stress of emotions like those I have
described, no man troubles his head about
problems of cosmology; thought is merged
in feeling; speculation is smothered. But
though this is true, it is not wholly true.
As no pain, I suppose, is so intense as to exclude
all reflections on its probable duration,
so no rapture is so absorbing as to exclude all
reflections on its probable source. I grant
that at such moments we do not philosophise;
we do not analyse a problem, turning it this
way or that, and noting every aspect of it
with a cool curiosity. Nevertheless, for those
accustomed to reflect, reflection is never wholly
choked by feeling. Nor can feeling, in the
long run, be wholly unaffected by reflection.
Again, it may be said that such moments
too seldom occur in any man’s experience to
justify even the most modest generalisations—let
alone generalisations that embrace the universe.
But this objection seems to rest on a
misapprehension. We must remember that the
argument from æsthetic values is not a scientific
induction or a logical inference. There is here
no question of truth and falsehood, or even of
good taste and bad taste. We are not striving
to isolate what is essential to beauty by well-devised
experiments; nor are we concerned with
psycho-physical determination of the normal
relation between feeling and stimulus. If it
be urged that some particular example of
deep æsthetic emotion quite outruns the merits
of its object, so that sound canons of criticism
require its value to be lowered, we need not
deny it. We are not dealing with sound
canons of criticism; though I may observe,
in passing, that if they lower emotional
values in one direction without raising them in
others, good taste becomes a somewhat costly
luxury. My point is different. I am not
appealing to all men, but only to some men—to
those and to those only who, when they
explicitly face the problem, become deeply
conscious of the incongruity between our
feelings of beauty and a materialistic account
of their origin.
The extreme individualism of this point of
view may seem repulsive to many. Are the
feelings (they will ask) of some transient
moment to be treated as authentic guides
through the mysteries of the universe, merely
because they are strong enough to overwhelm
our cooler judgment? And, if so, how far
is this method of metaphysical investigation to
be pressed? Are we, for example, to attach
transcendental value to the feelings of a man
in love? There is evidently a close, though
doubtless not a perfect, parallel between the
two cases. It is true that love is rooted in
appetite, and that appetite has a survival
value which I, at least, cannot find in the
purely contemplative emotions. But romantic
love goes far beyond race requirements. From
this point of view it is as useless as æsthetic
emotion itself. And, like æsthetic emotion of
the profounder sort, it is rarely satisfied with
the definite, the limited, and the immediate.
It ever reaches out towards an unrealised
infinity. It cannot rest content with the
prose of mere fact. It sees visions and
dreams dreams which to an unsympathetic
world seem no better than amiable follies. Is
it from sources like these—the illusions of love
and the enthusiasms of ignorance—that we
propose to supplement the world-outlook provided
for us by sober sense and scientific
observation?
Yet why not? Here we have values which
by supposition we are reluctant to lose.
Neither scientific observation nor sober sense
can preserve them. It is surely permissible
to ask what will. And if Naturalism be inimical
to their maintenance, the fact should at
least be noted.
It is true, no doubt, that these high-wrought
feelings have worse enemies even than naturalism.
When the impassioned lover has sunk
into a good husband, and the worshipper
of beauty has cooled into a judicious critic,
they may look back on their early raptures
with intelligent disdain. In that event
there are for them no values to be maintained.
They were young, they were foolish,
they made a mistake, and there is no
more to be said. But there is a higher
wisdom. Without ignoring what experience
has to teach, they may still believe that
through these emotions they have obtained
an authentic glimpse of a world more resplendent
and not less real than that in which they
tramp their daily round. And, if so, they will
attribute to them a value independent of their
immediate cause—a value which cannot be
maintained in a merely naturalistic setting.4
This may seem a doctrine too mystical to
suit the general tenor of these lectures. Let
me, therefore, hasten to add that our ordinary
and repeatable experiences of beauty seem
to point in the same direction as these rarer
and more intense emotions. It is, of course,
true that even about these we cannot generalise
as we may (for example) about the external
world. We cannot, I mean, assume that
there is a great body of æsthetic experience
which all normal persons possess in common.
There is always something about our feeling
for beautiful things which can neither be
described nor communicated, which is unshared
and unshareable. Many normal persons
have no such feelings, or none worth
talking about. Their æsthetic interests may
be great, but they lie at a lower level of
intensity. They do not really care for beauty.
Again, there are many who do care, and care
greatly, who would yet utterly repudiate the
doctrine that the highest æsthetic values
were in any sense dependent on a spiritual
view of the universe. The fact that so much
of the greatest art has been produced in the
service of religion they would not regard as
relevant. They would remind us that one
great poet at least has been a passionate
materialist; that many have been pessimists;
that many have been atheists; that many
have been in violent revolt against the religion
of their age and country. Of these we cannot
say that their art suffered from their opinions,
for we cannot imagine what their art would
have been like had their opinions been different.
Neither can we say that the readers who
shared their opinions, became, thereby, less
qualified to enjoy their art. Such a paradox
would be too violent. How, then (the objectors
may ask), are facts like these to be harmonised
with the views I am recommending?
Probably they cannot be harmonised. We
are confronted with a difference of temperament
which must be accepted as final.
Yet the contradiction may often be less
than at first appears. In the case which
I brought forward just now, strong æsthetic
emotion was assumed to carry with it,
both at the crisis of immediate experience
and yet more in periods of reflective retrospect,
a demand for some cause emotionally
adequate to its effect. In other words, it was
assumed that such an experience suggested
the question—whence comes it? of matter?
or of spirit? and required the answer—if it
be not born of spirit it is little, or it is naught.
But in many cases this answer is not given
because the question is not asked; or, if it
be asked, is misunderstood. And there are
many reasons why it should not be asked;
and many why it should be misunderstood.
For there are two things which must, in
this connection, be remembered. The first
is that materialism has never been the prevailing
creed among lovers of beauty. The
second is that though (as I contend) a deep-lying
incongruity infects theories which trace
the ultimate genesis of beauty exclusively to
causes which neither think, nor feel, nor
will, such theories involve no contradiction,
nor can those who hold them be taxed with
inconsistency. There is, therefore, little in
the ordinary routine of artistic criticism which
raises the point which we are now discussing.
A critic examining some artistic whole—a
picture, a poem, a symphony—is much occupied
in separating out the elements which
contribute to the total effect, and in observing
their character, value, and mutual relations.
But it is only when we cease to analyse, when
we contemplate, directly or in retrospect, the
whole as a whole, that the problem of origin
arises; and even then it need never become
explicit. It may remain in the shape of an
unsatisfied longing for a spiritual reality
beyond the sensuous impression, or of a vaguely
felt assurance that the spiritual reality is
there. And in neither case has it developed
into a question definitely presented—and
pressing for a definite reply.
While, then, I am quite ready to believe
that there are many persons whose enjoyment
of beauty is quite independent of their world
outlook, I am also convinced that there are
some who count themselves among the number
only because they have never put the matter
to the proof. It may be that they have
given but little thought to questions of theology
or metaphysics. It may be that they are
pantheists after the manner of Shelley, or
pessimists after the manner of Schopenhauer.
Perhaps, again, they hold one or other of the
theosophies which pass current in the West
as the esoteric wisdom of the East. In any
case, they are averse from orthodoxy, or what
they regard as such. A lover of the beautiful
belonging to any type like these, if asked
whether his estimate of æsthetic values depended
on his creed, might easily miss the
point of the inquiry, and his negative reply
would be worthless. Let the question, therefore,
be put in different terms. Let him be
asked whether beauty would not lose value
for him if his world-outlook required him to
regard it as a purposeless accident; whether
the æsthetic delights which he deems most
exquisite would not be somewhat dimmed if
reflection showed them to be as vain, as transitory,
though not so useful, as the least considered
pleasures of sense. If he replies in
the negative, there is no more to be said. This
lecture is not addressed to him. But I believe
there are many to whom such an answer
would be profoundly unsatisfying; and they,
at least, can hardly deny that æsthetic values
are in part dependent upon a spiritual conception
of the world we live in.
So far I have been considering art and the
beauty expressed by art. But there are two
kinds of æsthetic interest, which, though not
artistic in the ordinary sense of the word, are
so important that something must be said
about them before this lecture closes.
The first of these is natural beauty. Hegel,
if I rightly understand him, altogether excluded
this from the sphere of æsthetic. For
him the point of importance was Spirit—the
Idea—expressing itself in art; and since
nature is not spirit, nor natural beauty art,
the exclusion was logical. For me, on the
other hand, the main thing is feeling roused
by contemplation; and particularly feeling
at its highest level of quality and intensity.
Natural beauty, therefore, cannot be ignored;
since no feelings of contemplation possess
higher quality, or greater intensity, than those
which natural beauty can arouse.
Evidently, however, there is, even from my
point of view, a great difference between
beauty in art and beauty in nature. For, in
the case of nature, there is no artist; while, as
I observed just now, “a work of art requires
an artist, not merely in the order of natural
causation, but in the order of æsthetic necessity.
It conveys a message which is valueless
to the recipient unless it be understood by the
sender. It must be significant.”
Are we, then, to lay down one rule for artistic
beauty and another rule for natural beauty?
Must the first be expressive, but not the
second? Is creative mind necessary in one
case, and superfluous in the other? And if
in the case of nature it be necessary, where
is it to be found? On the naturalistic hypothesis,
it is not to be found at all. The glory
of mountain and of plain, storm and sunshine,
must be regarded as resembling the kaleidoscopic
pattern of which I just now spoke;
with this difference only—that the kaleidoscope
was designed to give some pattern,
though no one pattern more than another;
while nature was not designed with any
intention at all, and gives us its patterns only
by accident.
I know not whether you will think that
this train of thought is helped or hindered by
bringing it into relation with our scientific
knowledge of natural realities. The world
which stirs our æsthetic emotions is the world
of sense, the world as it appears. It is not the
world as science asks us to conceive it. This
is very ill-qualified to afford æsthetic delight
of the usual type; although the contemplation
of complicated relations reduced to law
may produce an intellectual pleasure in the
nature of æsthetic interest. Yet none, I
think, would maintain that mass and motion
abstractly considered, nor any concrete arrangement
of moving atoms or undulating
ether, are beautiful as represented in thought,
or would be beautiful could they become
objects of perception. We have a bad habit
of saying that science deals with nothing but
“phenomena.” If by phenomena are meant
appearances, it is to æsthetics rather than
to science that, on the principle of Solomon’s
judgment, phenomena most properly belong.
To get away from appearances, to read the
physical fact behind its sensuous effect, is
one chief aim of science; while to put the
physical fact in place of its sensuous effect
would be the total and immediate ruin of
beauty both in nature and in the arts which
draw on nature for their material. Natural
beauty, in other words, would perish if physical
reality and physical appearance became one,
and we were reduced to the lamentable predicament
of perceiving nature as nature is!
Now, to me, it seems that the feeling for
natural beauty cannot, any more than scientific
curiosity, rest satisfied with the world of
sensuous appearance. But the reasons for
its discontent are different. Scientific curiosity
hungers for a knowledge of causes;
causes which are physical, and, if possible,
measurable. Our admiration for natural beauty
has no such needs. It cares not to understand
either the physical theories which explain what
it admires, or the psychological theories which
explain its admiration. It does not deny the
truth of the first, nor (within due limits) the
sufficiency of the second. But it requires more.
It feels itself belittled unless conscious purpose
can be found somewhere in its pedigree.
Physics and psycho-physics, by themselves,
suffice not. It longs to regard beauty as a
revelation—a revelation from spirit to spirit,
not from one kind of atomic agitation to the
“psychic” accompaniment of another. On
this condition only can its highest values be
maintained.5
There is yet one other subject of æsthetic
interest on which I desire to say something
before the course of these lectures carries me
into very different regions of speculation.
The subject I refer to is history.
That history has æsthetic value is evident.
An age which is both scientific and utilitarian
occasionally pretends to see in it no more than
the raw material of a science called sociology,
and a storehouse of precedents from which
statesmen may draw maxims for the guidance
of mankind. It may be all this, but it is
certainly more. What has in the main caused
history to be written, and when written to be
eagerly read, is neither its scientific value nor
its practical utility, but its æsthetic interest.
Men love to contemplate the performances of
their fellows, and whatever enables them to
do so, whether we belittle it as gossip or exalt
it as history, will find admirers in abundance.
Yet the difference between this subject of
contemplative interest and those provided
either by beauty in art or beauty in nature are
striking.
In the first place, history is not concerned
to express beauty. I do not deny that a
great historian, in narrating some heroic incident,
may rival the epic and the saga. He
may tell a tale which would be fascinating
even if it were false. But such cases are
exceptional, and ought to be exceptional.
Directly it appears that the governing preoccupation
of an historian is to be picturesque,
his narrative becomes intolerable.
This is because the interest—I mean the
æsthetic interest—of history largely depends
upon its accuracy; or (more strictly) upon
its supposed accuracy. Fictitious narrative,
whether realistic or romantic, may suggest
deeper truths, may tell us more about the
heart of man, than all the histories that ever
were written; and may tell it more agreeably.
But fact has an interest, because it is fact;
because it actually happened; because actual
people who really lived and really suffered and
really rejoiced caused it to happen, or were
affected by its happening. And on this interest
the charm of history essentially depends.
In this respect there is, I think, a certain
analogy between the æsthetic interest aroused
by history and that aroused by natural beauty.
Our pleasure in a landscape is qualified if we
discover ourselves to have been the victims
of an optical delusion. If, for example, purple
peaks are seen on a far horizon, the traveller
may exclaim, “What beautiful mountains!”
Something thereupon convinces him that the
mountains are but clouds, and his delight suffers
an immediate chill. But why? The mountains,
it is true, proved unreal; but they had
as much reality as mountains in a picture.
Where lies the essential difference between a
representation accidentally produced by condensed
vapour and a representation deliberately
embodied in paint and canvas? It is
not to be found, as might be at first supposed,
in the fact that the one deceives us and the
other does not. Were we familiar with this
particular landscape, did we know that nothing
but a level plain stretched before us to the
limits of our vision, we might still feel that, if
the clouds on the horizon were what they
seemed to be, the view would gain greatly in
magnificence. Here there is no deception
and no shock of disillusionment. If, therefore,
we remain dissatisfied, it is because in this
case verisimilitude does not suffice us; we
insist on facts.
It has, perhaps, not been sufficiently noticed
that brute fact, truth as it is apprehended in
courts of law, truth as it is given by an accurate
witness speaking on oath, has for some purposes
great æsthetic value. That it is all-important
in the dealings between man and
man would be universally conceded; that it
has no importance either in fine art or imaginative
literature, and no meaning in music or
architecture, most people would be ready to
admit. But that it possesses worth where no
practical issues are involved, and that this
worth is of the contemplative or æsthetic order,
is perhaps not so easy of acceptance. Yet so
it is. A tale which would be inexpressibly
tedious if we thought it was (in the “law
court” sense) false may become of absorbing
interest if we think it true. And this not because
it touches morals or practice, not because
it has theoretic interest or controversial importance,
but in its own right and on its own
merits.
Now this æsthetic quality is, it seems to me,
required both from “natural beauty” and
historic narrative; but if there is here a
resemblance between them, in other respects
they are profoundly different. Landscape
appeals to us directly. I do not mean that our
enjoyment of it, both in quality and quantity,
is not largely due to the work of artists. Our
tastes have, no doubt, been formed and our
sensibilities educated by the interpretation of
nature which we owe to painters and poets.
But though this is true, it is also true that what
we see and what we enjoy is not art but nature,
nature at first hand, nature seen immediately,
if not as she is, at least as she appears. In the
case of history it is otherwise. Except when
we happen to have been ourselves spectators
of important events, there is always an artist
to be reckoned with. It may be Thucydides.
It may be Dr. Dryasdust. It may be a
mediæval chronicler. It may be Mrs. Candour
at the tea-table. But there is always somebody;
and though that somebody might
repudiate the notion that his narrative was
a work of art, yet he cannot evade responsibility
for selection, for emphasis, and for
colour. We may think him a bad artist,
but, even in his own despite, an artist he is;—an
artist whose material is not marble or sound,
but brute fact.
There is another way in which the æsthetic
interest of history characteristically differs from
the interest we feel in beauty, whether of art
or of nature. It is massive rather than acute.
Particular episodes may indeed raise the most
poignant emotions. But, broadly speaking, the
long-drawn story of man and his fortunes stirs
feelings which (to borrow a metaphor from
physics) are great in quantity but of low intensity.
So it comes about that, whereas in
the case of art the emotions stand out prominently
above their associated judgments, in the
case of history the positions are commonly
reversed.
Yet this need not be so; and in particular
it need not be so when we are contemplating
the historical process as a whole. Details are
then merged in a general impression; and the
general impression drives us beyond the
limits of history proper into questions of
origin and purpose, into reflections about man
and destiny, into problems of whence and
whither. Speculations like these have an
emotional as well as an intellectual value, which
must be affected by the answers we give them.
Let me illustrate and explain. It is possible,
indeed it is easy, to contemplate aspects
of history with the coolest intellectual interest.
In this mood we might, for instance, study
the development of science and religion out of
primitive magics and superstitions. In this
mood we might observe the characteristics
of the city state, or the growth and decay of
feudalism, or the history of the Mongols.
On the other hand, the interest often becomes
tinged with stronger feelings when we sympathetically
follow the changing fortunes of
particular individuals or communities. We
are then, as it were, spectators of a drama,
moved by dramatic hopes and fears, dramatic
likes and dislikes, dramatic “pity and terror.”
And our emotions are not merely those appropriate
to drama; they have, besides, that special
quality (already referred to) which depends on
the belief that they are occasioned by real
events in a world of real people.
But there is yet a third case to be considered,
in which the two previous cases are
included and partially submerged. This occurs
when the object of our contemplative
interest is not episodic but general, not the
fate of this man or that nation, this type of
polity or that stage of civilisation, but the fate
of mankind itself, its past and future, its
collective destiny.
Now we may, if we please, treat this as no
more than a chapter of natural history. Compared
with the chapter devoted, let us say, to
the Dinosaurs it no doubt has the disadvantage
of being as yet unfinished, for the Dinosaurs
are extinct, and man still survives. On the
other hand, though the natural history of
“Homo Sapiens” is incomplete, we may admit
that it possesses a peculiar interest for the
biologist; but this interest is scientific, not
historical.
For what does historical interest require?
Not merely “brute fact,” but brute fact about
beings who are more than animals, who look
before and after, who dream about the past
and hope about the future, who plan and
strive and suffer for ends of their own invention;
for ideals which reach far beyond the
appetites and fears which rule the lives of their
brother beasts. Such beings have a “natural
history,” but it is not with this that we are
concerned. The history which concerns us
is the history of self-conscious personalities,
and of communities which are (in a sense) self-conscious
also. Can the contemplative values
which this possesses, especially in its most
comprehensive shape, be regarded as independent
of our world-outlook? Surely not.
Observe that history, so conceived, must
needs compare faculty with desire, achievement
with expectation, fulfilment with design.
And no moralist has ever found pleasure in
the comparison. The vanity of human wishes
and the brevity of human life are immemorial
themes of lamentation; nor do they become
less lamentable when we extend our view from
the individual to the race. Indeed, it is much
the other way. Men’s wishes are not always
vain, nor is every life too brief to satisfy its
possessor. Only when we attempt, from the
point of view permitted by physics and biology,
to sum up the possibilities of collective human
endeavour, do we fully realise the “vanity of
vanities” proclaimed by the Preacher.
I am not, of course, suggesting that history
is uninteresting because men are unhappy:
nor yet that naturalism carries pessimism in
its train. It may well be that if mankind
could draw up a hedonistic balance-sheet, the
pleasures of mundane existence would turn
out to be greater than its sufferings. But
this is not the question. I am not (for the
moment) concerned with the miseries of the
race, but with its futility. Its miseries might
be indefinitely diminished, yet leave its futility
unchanged. We might live without
care and die without pain; nature, tamed
to our desires, might pour every luxury into
our lap; and, with no material wish unsatisfied,
we might contemplate at our ease the inevitable,
if distant, extinction of all the life,
feeling, thought, and effort whose reality is
admitted by a naturalistic creed.
But how should we be advanced? What
interest would then be left in the story of the
human race from its sordid beginnings to its
ineffectual end? Poets and thinkers of old
dimly pictured a controlling Fate to which
even the Olympian gods were subject. The
unknown power, which they ignorantly worshipped,
any text-book on physics will now
declare unto you. But no altars are erected
in its honour. Its name is changed. It is no
longer called Fate or Destiny, but is known
by a title less august if more precise, the law
of energy-degradation, or (if you please)
“the second law of thermo-dynamics.” It
has become the subject of scientific experiment;
the physicists have taken it over
from the seers, and its attributes are defined
in equations. All terrestrial life is in revolt
against it; but to it, in the end, must all
terrestrial life succumb. Eschatology, the
doctrine of the last things, has lapsed from
prophecy to calculation, and has become (at
least potentially) a quantitative science.
And, from a scientific point of view, this is
quite satisfactory. But it is not satisfactory
when we are weighing the æsthetic values of
universal history. Shakespeare, in the passionate
indictment of life which he puts into the
mouth of Macbeth, declares it to be “a tale
told by an idiot, full of sound and fury,” and
(mark well the climax) “signifying nothing.”
That is the point with which in this lecture
we are chiefly concerned. It most clearly
emerges when, in moments of reflection, we
enlarge the circuit of our thoughts beyond
the needs of action, and, in a mood untouched
by personal hopes or fears, endeavour to
survey man’s destiny as a whole. Till a
period within the memory of men now living
it was possible to credit terrestrial life with
an infinite future, wherein there was room
for an infinite approach towards some, as yet,
unpictured perfection. It could always be
hoped that human efforts would leave behind
them some enduring traces, which, however
slowly, might accumulate without end. But
hopes like these are possible no more. The
wider is the sweep of our contemplative
vision the more clearly do we see that the
rôle of man, if limited to an earthly stage, is
meaningless and futile;—that, however it be
played, in the end it “signifies nothing.”
Will any one assert that universal history can
maintain its interest undimmed if steeped
in the atmosphere of a creed like this?
Here, however, we are evidently nearing
the frontier which divides æsthetic from ethic.
Before I cross it, and begin a new subject, let
me very briefly touch on a difficulty which
may have occurred to some of my hearers.
The line of thought followed in the last
section of this lecture assumes, or seems to
assume, that our only choice lies between
history framed in a naturalistic, and history
framed in a theistic, setting. In the first case
we have a world-outlook which forbids the
attribution of permanent value to human
effort; in the second case we have a world-outlook
which requires, or, at the least, permits
it. But are these the only alternatives?
What are we to say, for example, about those
metaphysical religions which, whether they
be described as theistic, pantheistic, or atheistic,
agree in regarding all life as illusion, all
desire as wretchedness, and deem the true
end of man to be absorption in the timeless
identity of the real? Such creeds have no
affinity with naturalism. Philosophically they
are in sharpest contrast to it. But even less
than naturalism do they provide history
with a suitable setting. For naturalism does,
after all, leave untouched the interest of
historical episodes, so long as they are considered
out of relation to the whole of which
they form a part. As we are content, in the
realm of fiction, to bid farewell to the hero
and heroine on their marriage, unmoved by
anxieties about their children, so, in the
realm of “brute fact,” we may arbitrarily
isolate any period we choose, and treat the
story of it without reference to any theories
concerning the future destiny of man. But
this process of abstraction must surely be
useless for those who think of the world in
terms of the metaphysical religions to which
I have referred. In their eyes all effort is
inherently worthless, all desire inherently vain.
Nor would they change their opinion even
were they persuaded that progress was real
and unending; that effort and desire were
building up, however slowly, an imperishable
polity of super-men. For those who in this
spirit face the struggling world of common
experience the contemplative interest of universal
history must be small indeed.