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and every withered stem and stubble rimed with frost, contribute something to the mute music.
The inhabitants of cities suppose that the country landscape is pleasant only half the year. I please myself with observing the graces of the winter scenery, and believe that we are as much touched by it as by the genial influences of summer. To the attentive eye, each moment of the year has its own beauty, and in the same field it beholds, every hour, a picture which was never seen before, and which shall never be seen again. The heavens change every moment, and reflect their glory or gloom on the plains beneath. The state of the crop in the surrounding farms, alters the expression of the earth from week to week. The succession of native plants in the pastures and roadsides, which make the silent clock by which time tells the summer hours, will make even the divisions of the day sensible to a keen observer. The tribes of birds and insects, like the plants, punctual to their time, follow each other, and the year has room for all. By water-courses, the variety is greater. In July, the blue pontederia, or pickerel-weed, blooms in large beds in the shallow parts of our pleasant river, and swarms with yellow butterflies in continual motion. Art cannot rival this pomp of purple and gold. Indeed the river is a perpetual gala, and boasts each month a new ornament.
But this beauty of Nature which is seen and felt as beauty, is the least part. The shows of day, the dewy morning, the rainbow, mountains, orchards in blossom, stars, moonlight, shadows in still water, and the like, if too eagerly hunted, become shows merely, and mock us with their unreality. Go out of the house to see the moon, and it is mere tinsel; it will not please as when its light shines upon your necessary journey. The beauty that shimmers in the yellow afternoons of October, who ever could clutch it? Go forth to find it, and it is gone: it is only a mirage as you look from the windows of diligence.
2. The presence of a higher, namely, of the spiritual
element is essential to its perfection. The high and Divine beauty which can be loved without effeminacy, is that which is found in combination with the human will, and never separate. Beauty is the mark God sets upon virtue. Every natural action is graceful. Every heroic act is also decent, and causes the place and the bystanders to shine. We are taught by great actions, that the universe is the property of every individual in it. Every rational creature has all nature for his dowry and estate. It is his, if he will. He may divest himself of it; he may creep into a corner, and abdicate his kingdom, as most men do; but he is entitled to the world by his constitution. In proportion to the energy of his thought and will, he takes up the world into himself. "All those things for which men plough, build, or sail, obey virtue:" said an ancient historian. winds and waves," said Gibbon, are always on the side of the ablest navigators." So are the sun, and moon, and all the stars of heaven. When a noble act is done-perchance in a scene of great natural beauty: when Leonidas and his three hundred martyrs consume one day in dying, and the sun and moon come each and look at them once in the steep defile of Thermopyla; when Arnold Winkelreid, in the high Alps, under the shadow of the avalanche, gathers in his side a sheaf of Austrian spears to break the line for his comrades: are not these heroes entitled to add the beauty of the scene to the beauty of the deed? When the bark of Columbus nears the shore of America-before it, the beach lined with savages, fleeing out of all their huts of cane; the sea behind; and the purple mountains of the Indian Archipelago around-can we separate the man from the living picture? Does not the New World clothe his form with her palm-groves and savannahs as fit drapery? Ever does natural beauty steal in like air, and envelope great actions. When Sir Harry Vane was dragged up the Tower-hill, sitting on a sled, to suffer death, as the champion of the English laws, one of the multitude cried out to him, "You never sate on so glorious a seat."
Charles II., to intimidate the citizens of London, caused the patriot Lord Russel to be drawn in an open coach, through the principal streets of the city, on his way to the scaffold. "But," to use the simple narrative of his biographer, "the multitude imagined they saw liberty and virtue sitting by his side." In private places, among sordid objects, an act of truth or heroism seems at once to draw to itself the sky as its temple, the sun as its candle. Nature stretcheth out her arms to embrace man, only let his thoughts be of equal greatness. Willingly does she follow his steps with the rose and the violet, and bend her lines of grandeur and grace to the decoration of her darling child. Only let his thoughts be of equal scope, and the frame will suit the picture. A virtuous man is in unison with her works, and makes the central figure of the visible sphere. Homer, Pindar, Socrates, Phocion, associate themselves fitly in our memory with the whole geography and climate of Greece. The visible heavens and earth sympathize with Jesus. And in common life, whosoever has seen a person of powerful character and happy genius, will have remarked how easily he took all things along with him—the persons, the opinions, and the day; and nature became ancillary to a man.
3. There is still another aspect under which the beauty of the world may be viewed, namely, as it becomes an object of the intellect. Beside the relation of
things to virtue, they have a relation to thought. The intellect searches out the absolute order of things as they stand in the mind of God, and without the colours of affection. The intellectual and the active powers seem to succeed each other in man, and the exclusive activity of the one, generates the exclusive activity of the other. There is something unfriendly in each to the other, but they are like the alternate periods of feeding and working in animals: each prepares and certainly will be followed by the other. Therefore does beauty, which, in relation to actions, as we have seen, comes unsought, and comes because it is unsought, remain for the appre
hension and pursuit of the intellect; and then again, in its turn, of the active power. Nothing divine dies. All good is eternally reproductive. The beauty of nature re-forms itself in the mind, and not for barren contemplation, but for new creation.
All men are, in some degree, impressed by the face of the world. Some men even to delight. This love of beauty is Taste. Others have the same love in such excess, that, not content with admiring, they seek to embody it in new forms. The creation of beauty is Art. The production of a work of art throws a light upon the mystery of humanity. A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For although the works of nature are innumerable and all different, the result or expression of them all is similar and single. Nature is a sea of forms radically alike and even unique. A leaf, a sunbeam, a landscape, the ocean, make an analogous impression on the mind. What is common to them all
that perfectness and harmony, is beauty. Therefore the standard of beauty, is the entire circuit of natural forms the totality of nature; which the Italians expressed by defining beauty "il piu nell' uno." Nothing is quite beautiful alone: nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.
The world thus exists to the soul to satisfy the desire of beauty. Extend this element to the uttermost, and I call it an ultimate end. No reason can be asked or given why the soul seeks beauty. Beauty, in its largest and profoundest sense, is one expression for the universe. God is the all-fair. Truth, and goodness, and beauty,
are but different faces of the same All.
But beauty in nature is not ultimate. It is the herald of inward and eternal beauty, and is not alone a solid and satisfactory good. It must, therefore, stand as a part, and not as yet the last or highest expression of the final cause of Nature.
A THIRD use which Nature subserves to man is that of LANGUAGE. Nature is the vehicle of thought, and in a simple, double, and threefold degree.
1. Words are signs of natural facts.
2. Particular natural facts, are symbols of particular facts.
3. Nature is the symbol of spirits.
1. Words are signs of natural facts. The use of natural history is to give us aid in supernatural history. The use of the outer creation is to give us language for the beings and changes of the inward creation. Every word which is used to express a moral or intellectual fact, if traced to its root, is found to be borrowed from some material appearance. Right originally means straight; wrong means twisted. Spirit primarily means wind; transgression, the crossing of a line; supercilious, the raising of the eye-brow. We say the heart, to express emotion; the head, to denote thought; and thought and emotion are, in their turn, words borrowed from sensible things, and now appropriated to spiritual nature. Most of the process by which this transformation is made, is hidden from us in the remote time when language was framed; but the same tendency may be daily observed in children. Children and savages use only nouns or names of things, which they continually convert into verbs, and apply to analogous mental acts.
2. But this origin of all words that convey a spiritual import so conspicuous a fact in the history of lan