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sense, that he has not succeeded in rendering back to you your consciousness.

He has not succeeded ; now let another try. If Plato cannot, perhaps Spinoza will. If Spinoza cannot, then perhaps Kant. Anyhow, when at last it is done, you will find it is no recondite, but a simple, natural, common state, which the writer restores to you.

But let us end these didactics. I will not, though the subject might provoke it, speak to the open question between Truth and Love. I shall not presume to interfere in the old politics of the skies ;" The cherubim know most ; the seraphim love most.” The gods shall settle their own quarrels. But I cannot recite, even thus rudely, laws of the intellect, without remembering that lofty and sequestered class of men who have been its prophets and oracles, the high-priesthood of the pure reason, the Trismegisti, the expounders of the principles of thought from age to age. When, at long intervals, we turn over their abstruse pages, wonderful seems the calm and grand air of these few, these great spiritual lords, who have walked in the world, - these of the old religion, dwelling in a worship which makes the sanctities of Christianity look parvenues and popular; for “persuasion is in soul, but necessity is in intellect." This band of grandees, Hermes, Heraclitus, Empedocles, Plato, Plotinus, Olympiodorus, Proclus, Synesius, and the rést, have somewhat so vast in their logic, so primary in their thinking, that it seems antecedent to all the ordinary distinctions of rhetoric and literature, and to be at once poetry, and music, and dancing, and astronomy, and mathematics. I am present at the sowing of the seed of the world. With a geometry of sunbeams, the soul lays the foundations of nature. The truth and grandeur of their thought is proved by its scope and applicability, for it commands the entire schedule and inventory of things for its illustration. But what marks its elevation, and has even a comic look to us, is the innocent serenity with which these babe-like Jupiters sit in their clouds, and from age to age prattle to each other, and to no contemporary. Well assured that their speech is intelligible, and the most natural thing in the world, they add thesis to thesis, without a moment's heed of the universal astonishment of the human race below, who do not comprehend their plainest argument; nor do they ever relent so much as to insert a popular or explaining sentence ; nor testify the least displeasure or petulance at the dulness of their amazed auditory. The angels are so enamoured of the language that is spoken in heaven, that they will not distort their lips with the hissing and unmusical dialects of men, but speak their own, whether there be any who understand it or not.

ART. .

Give to barrows, trays, and pans
Grace and glimmer of romance;
Bring the moonlight into noon
Hid in gleaming piles of stone;
On the city's paved street
Plant gardens lined with lilac sweet;
Let spouting fountains cool the air,
Singing in the sun-baked square ;
Let statue, picture, park, and hall,
Ballad, flag, and festival,
The past restore, the day adorn,
And make each morrow a new morn.
So shall the drudge in dusty frock
Spy behind the city clock
Retinues of airy kings,
Skirts of angels, starry wings,
His fathers shining in bright fables,
His children fed at heavenly tables.
'T is the privilege of Art
Thus to play its cheerful part,
Man in Earth to acclimate,
And bend the exile to his fate,
And, moulded of one element
With the days and firmament,
Teach him on these as stairs to climb,
And live on even terms with Time;
Whilst upper life the slender rill
Of human sense doth overtill.

ESSAY XII.

ART.

BECAUSE the soul is progressive, it never quite repeats itself, but in every act attempts the production of a new and fairer whole. This appears in works both of the useful and the fine arts, if we employ the popular distinction of works according to their aim either at use or beauty.

Thus in our fine arts, not imitation, but creation, is the aim. In landscapes, the painter should give the suggestion of a fairer creation than we know. The details, the prose of nature he should omit, and give us only the spirit and splendor. He should know that the landscape has beauty for his eye, because it expresses a thought which is to him good ; and this, because the same power which sees through his eyes is seen in that spectacle ; and he will come to value the expression of nature, and not nature itself, and so exalt in his copy the features that please him. He will give the gloom of gloom, and the sunshine of sunshine. In

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