Part 2

What is called “common sense” is much more nearly allied to genius, or true intellect, than either talent, which is the outcome of the discursive reason, or learning, which is that of memory. Compared with the sunlight by which the purer intellect sees, common sense is the light of a foggy day, which is good enough to see near objects and to avoid mischief by. Science is generally considered to be the outcome solely of the observation of facts and the discursive reason; but in men like Kepler, Newton, and Faraday there is no lack of “the vision and the faculty divine.” The discovery of gravitation by the fall of an apple was pure vision; and it is doubtful whether there was ever a Smith’s Prizeman who had not a touch of a higher faculty than that which gropes step by step from premisses to conclusions.

A ghastly semblance of genius is often retained by such persons as once had it, but have ruined it by denying it in action, and by endeavouring to prostitute it to selfish or vicious interests. Their judicial blindness is the reverse of that which was inflicted upon Tiresias for daring to gaze upon unveiled wisdom. He could no longer see the world; they can no longer see the heavens. But their original genius takes the perverted form of an intuitive craft in pursuing their ends which is no less amazing, and which, in statesmen especially, is commonly mistaken by the people for the holy faculty which has been quenched.

To be a man of talent a man must be able to think; to be a man of genius he must be able not to think, and especially to abstain from the crazy wool-gathering which is ordinarily regarded as thought. “The harvest of a quiet eye,” and the learning of the ear which listens in a silence even of thought, are the wealth of the pure intellect. And the fainter and the more remote the whispers which are heard in such silence, the more precious and potential are they likely to be. It is no condemnation of the thought of Hegel that he is reported to have replied to some question as to the meaning of a passage in his writings, that “he knew what it meant when he wrote it.” This thought, too subtle or too simple for expression and memory, might, if held down and compelled to manifest itself more explicitly, have moved mankind.

Genius is a great disturber. It is always a new thing, and demands of old things that they should make a place for it, which cannot be done without more or less inconvenient rearrangements; and as it seems to threaten even worse trouble than it is finally found to give, it is generally hated and resisted on its first appearance. Moreover, to the eye which is not congenial the fresh manifestation of genius in almost any kind has something in it alarming and revolting; and it is welcomed with an “Ugh, ugh! the horrid thing! It’s alive!” A man of genius who is also a man of sense will never complain of such a reception from his fellows. Their opposition is even respectable from their point of view and with their faculties of beholding.

II

Genius, like sanctity, is commonly more or less foolish in the eyes of the world. Its riches are “the riches of secret places”; and they so much exceed, in its esteem, those that are considered riches by the common sense of men, that its neglect of the ordinary goods of life often amounts to real imprudence--imprudence even from its own point of view, whereby it is bound to avoid hindrances to its free life and exercise. The follies, however, of a Blake or a Hartley Coleridge are venial when compared with those of the thoughtful and prudent fool--the fool in respect of great things, as the other is in respect of small. Who can measure the harm that may be done to the world by a thoughtful and earnest fool--one who starts from data which he is too dull to verify, and who multiplies his mistakes in proportion to the perspicuity and extent of his deductions? The man of “talent” who is merely such, is not a very common phenomenon--for “talent” is in great part the product of culture; which “genius,” or the power of seeing, is not. Most persons of talent still possess a share of that obscure kind of genius called common sense, which keeps them from taking up with false principles and following them into wild conclusions. We need, however, only recall some famous figures in the present and past generation in order to be assured that immense talent is consistent with an almost complete deficiency of real insight. When the discursive understanding is in great force, and has at its command abundant stores of external information, we behold a power that may work the ruin of empires amid applauding peoples, though it can never build them up. The natural and exact sciences are the proper fields for the exertions of such a faculty.

Stupid persons fancy they derogate from the supremacy of the pure intellect or genius by observing that it is always associated with a vivid imagination, which they regard as a faculty for seeing things as they are not. Shelley made a mistake in a totally different direction when he declared that the imagination is the power by which spiritual things are discerned; whereas the truth is that intellect is the power by which such things are discerned, and imagination is that by which they are expressed. Sensible things alone can be expressed fully and directly by sensible terms. Symbols and parables, and metaphors--which are parables on a small scale--are the only means of adequately conveying, or rather hinting, supersensual knowledge. “He spake not without a parable.” Hebrew, Greek, Indian, and Egyptian religions all spoke in parables; and poets deal in images and parables simply because there is no other vehicle for what they have to say. “The things which are unseen may be known by the things which are seen,” but only by way of symbol and parable. Imagination, though it is not, as Shelley says it is, the power of spiritual insight, is its invariable concomitant; and even that dull kinsman of genius, common sense, would feel sadly hampered in its endeavours to convey its perceptions to the minds of others, were it wholly without the faculty of speaking in parables.

It has often been noted that men of genius have bad memories, and that persons having extraordinary memories, like Cardinal Mezzofanti, have little else. The truth is that there are two quite distinct kinds of memory: the memory for external facts and words, apart from their significance; and the memory for spiritual facts and principles. The man of genius, who may have no special reason for cultivating the lower kind of memory, may even find it rather a hindrance than a help. His prayer is, “Let not my heart forget the things mine eyes have seen.” So long as his heart retains the significance of the facts he has seen and the words he has heard, he is willing to let the words and the facts go, as a man casts away the shells after he has eaten the oysters. The “well-informed” person commonly differs from the man of genius in this: that he carries about with him all the shells of all the oysters he has ever eaten, and that his soul has grown thin under the burthen.

A commonplace about men of genius is that they usually have religious dispositions. It would be strange were it otherwise, seeing that genius is nothing but the power of discerning the things of the spirit. The first principle of the most recent form of “psychology” is, indeed, that there is no soul; but that man must have little genius who would not say “Amen” to St. Bernard’s epigram, “He must have little spirit who thinks that a spirit is nothing.”

After what has just been said, it seems paradoxical to be obliged to admit that the sins to which men of genius are usually most subject are those of sense. From pride, and its offspring envy, hatred, and malice, which play so terrible a part in the affairs of most men, they are comparatively exempt. That they should often be more subject than others to be misled by the ease and pleasure of the senses may be because the senses of men of genius are more subtly permeated by the spirit, of which they are the ultimate life, than are those of the world at large, and are thereby rendered more acute and less sordidly wicked. This may be said, I hope, without in any way condoning error.

Men of genius, who are therewithal men of cultivated talents and great stores of appropriate information, are the only safe legislators and governors of empires; not only because theirs alone is the sufficiency of sound and far-seeing wisdom, but because they are far less likely than other men to be misled by personal motives and weak fears. But such men, unhappily, are the last to come to the front in states of ultra-popular government; and in such states they have accordingly to suffer that last misery (as by one of the greatest philosophers it has been called), the misery of being governed by worse men than themselves.

IV

POSSIBILITIES AND PERFORMANCES

If we take stock of the world’s actual achievements--intellectual, moral, and artistic--in the six thousand years during which we know anything about it, it is impossible not to be struck with the extreme smallness of the sum of the acquisitions and attainments of the human race which can bear any comparison with its desires and apparent possibilities. If those desires and possibilities had in no instances been fulfilled, the entire absence of attainment would have been less startling than is its actual paucity. It would not have been nearly so wonderful if none had reached the high table-lands of excellence in any department of human activity, as it is that those heights have been reached by some and by so few. And the marvel of this paucity becomes yet further increased when it is considered that not only is it all that mankind has done, but in all likelihood nearly as much as it could have done had it tried ever so hard. For it is a peculiarity of the very highest work in every kind, that it is not the result of painful labour, but that it is easier to do it than not to do it, when it can be done at all. So that humanity must not be allowed to cover its enormous shortcomings with an “I could an’ I would.” How many philosophers has philosophy produced? If Aristotle be the type, where is the other specimen of the species? How many statesmen have there been whose faculties and characters, nearly inspected, do not provoke the exclamation, “With how little wisdom the world is governed!” In how many Christians has Christianity flowered, as in the souls of St. John and St. Francis? Greek architecture and Greek sculpture mean little more than the Parthenon and its friezes. What survives of Greek poetry will scarcely fill one bookshelf, and English poetry, which forms the greater part of the rest of the poetry of the human race, would rest easily on three. The building of the Middle Ages is nothing but the repetition of one inspiration, which would remain transmitted to us almost in its entirety were the Cathedral of Freiburg the only specimen left to us. A single gallery of the Vatican would provide wall-room sufficient for all the paintings of the world that are able to fill with satisfying peace the eye which has been educated by Botticelli, Luini, and Raphael. An ordinary life affords abundant leisure to take in all that two hundred generations of mankind have so done as to fill the craving for what all men feel to be alone satisfyingly human. That is to say, one man in twenty millions or so has been able, during some--often very small--proportion of his life, to be and to do that which all men, when they behold such being and doing, feel to be their natural though utterly unattainable prerogative. Thousands and thousands climb, with praiseworthy struggles and integrity of purpose and with shouts of “Excelsior!” the minor peaks of life; while two or three in a generation are seen walking with easy breath about those great and tranquil table-lands for which all of us, on beholding them, feel that we were born. It is not that, in a world of inequalities, some two or three in a generation must naturally stand higher than all the rest, as only one among many competitors can be Senior Wrangler. That fuller excellence is a region, and not a pinnacle; and those who reach it are all upon a great and facile equality, their altitude being simply that of right and unhindered human faculty.

Every individual of the human race is, in this regard, an image of the race itself. Only for a few hours, perhaps, of the million which is about the sum of the longest lifetime, has each one easily and unaccountably found himself to be living indeed. Some accident, some passing occasion which has called upon him to be more than himself, some glimpse of grace in nature or in woman, some lucky disaster even, or some mere wayward tide of existence, has caused the black walls of his prison-house to vanish; and he has breathed in a realm of vision, generosity, and gracious peace, “too transient for delight and too divine.” These prophetic moments--one in a million--pass; but, unless he has despised and denied them, they leave him capable, more or less, of understanding prophecy; and he knows that in him also there is a potentiality, realisable perhaps under other than present conditions, of becoming one in that great society in which such states of life appear to be not momentary crises but habits. The wider and the deeper his personal experience of beauty and felicity, the more readily will a man confess that life contains scarcely anything for fruition but abundance for hope; and the better he is acquainted with that which has been best done and said in all ages, the less he will be inclined to believe that the world is making any advances towards the realisation of the promise which every age repeats. An enigma for which science has no key is the certain fact, that if the world be not a prophecy of good things which it shows no likelihood of providing, then it is all nothing but a purposeless and badly conceived tragedy, upon which the sooner the black curtain drops the better. For if the world be not such a prophecy, then the best of men are of all men the most miserable; to these is given beyond others the “transitory gleam” which shows the dulness of their ordinary life for the lingering death it really is; but, knowing little or nothing of life as it is known to such, the stupid and “the wicked have no bonds in their death,” and can only feel the comparatively tolerable evils of external and accidental adversity.

There never was a time in which the “higher life,” “high art,” etc., were less known than in the present, when every goose is gabbling about them. The proof is in the way these names are constantly associated with that of “progress”; whereas progress, as respects the realities, is, if it exists at all, most certainly a progress backwards. The rejoicings of Lord Macaulay and his like over the recent advances of mankind are exactly those of a prosperous shopman over the increase of his business; and the hallelujahs of science are mainly over the elaboration of mighty means for petty ends and of theories which explain away God and exhibit all that past ages have called wisdom as folly. It is too absurd! Yet we must not allow the present eclipse of the electric lights of true learning by the flaring tar-barrels of jubilant ignorance to discourage us in the belief that there is, on the whole, no cessation of the work for which the world goes on. The conscience of mankind, though occasionally confused and obscured, will always cry “Amen” to the great word of St. Augustine, “What ought to be must be;” and the rare achievements of genius and sanctity and the few and far-between glimpses of the life that is indeed life, which are accorded to all, will continue to be accepted as “the substance of things hoped for, the evidence of things not seen.”

V

CHEERFULNESS IN LIFE AND ART

“Rejoice always: and again I say, Rejoice,” says one of the highest authorities; and a poet who is scarcely less infallible in psychological science writes--

A cheerful heart is what the Muses love.

Dante makes Melancholy dismally punished in Purgatory; though his own interior gaiety--of which a word by and by--is so interior, and its outward aspect often so grim, that he is vulgarly considered to have himself been a sinner in this sort. Good art is nothing but a representation of life; and that the good are gay is a commonplace, and one which, strange to say, is as generally disbelieved as it is, when rightly understood, undeniably true. The good and brave heart is always gay in this sense: that, although it may be afflicted and oppressed by its own misfortunes and those of others, it refuses in the darkest moment to consent to despondency; and thus a habit of mind is formed which can discern in most of its own afflictions some cause for grave rejoicing, and can thence infer at least a probability of such cause in cases where it cannot be discerned. Regarding thus cheerfully and hopefully its own sorrows, it is not over-troubled by those of others, however tender and helpful its sympathies may be. It is impossible to weep much for that in others which we should smile at in ourselves; and when we see a soul writhing like a worm under what seems to us a small misfortune, our pity for its misery is much mitigated by contempt for its cowardice.

A couple of generations ago most people would have opened their eyes wide at any one who should have thought remarks like these worth making. Such truth formed part of the universal tradition of civilisation and moral culture. But a wilful melancholy, and, the twin sign of corruption, a levity which acutely fears and sympathises with pains which are literally only skin-deep, have been increasing upon us of late in a most portentous way. The much-vaunted growth of “humanity” has been due rather to a softening of the brain than of the heart. Huge moral ill, the fact of national degradation, the prospect of national disaster, arouses less pain in the sympathetic hearts of humanitarians than the yelp of a poodle which has had its ear pinched. Men and times do not talk about the virtues they possess. Which is more inhuman: to punish with rack and wheel the treason which voluntarily sacrifices or jeopardises the welfare of millions, or to condone or ignore it for the sake of momentary ease? The England in which melancholy and levity are becoming prevalent habits is merry England no more. “The nation thou hast multiplied, but not increased the joy.” And we are not the only nation which deserves this lamentation of the prophet. The growths of melancholy and levity have been still more marked in France. In America, some traveller has remarked, “there is comfort everywhere, but no joy.” America is accordingly the only country which has no art.

It is, as we have said, a vulgar error to consider Dante a melancholy poet. In the whole range of art, joy is nowhere expressed so often and with such piercing sweetness as in the _Paradiso_; and it flashes occasionally through the dun atmosphere of the other parts of the poem. The _Inferno_ is pervaded by the vigorous joy of the poet at beholding thoroughly bad people getting their deserts; and the penances of purgatory are contemplated by him with the grave pleasure which is often felt by the saner sort of persons, even in this world, under the sufferings they acknowledge to be the appropriate punishment of and purification from the sins they have fallen into. Shakespeare is the most cheerful of poets. We read his deepest tragedies without contracting even a momentary stain of melancholy, however many tears they may have drawn from us. Calderon flies among horrors and disasters on the wings of a bird of Paradise, without any resulting incongruity; and like things may be said of the greatest painters and musicians, until quite recent times. But since about the beginning of this century how many of our geniuses have mingled their songs with tears and sighs over “insoluble problems” and “mysteries of life” which have no existence for a man who is in his right senses and who minds his own business; while the “scrannel pipes” of the smaller wits have been playing to the sorry Yankee tune of “There’s nothing new, and there’s nothing true, and it doesn’t signify.” Music has taken to imitate the wailing of lost spirits or the liveliness of the casino; and the highest ambition of several of our best painters seems to have been to evoke a pathos from eternal gloom.

This is false art, and represents a false life, or rather that which is not life at all; for life is not only joyful, it is joy itself. Life, unhindered by the internal obstruction of vice or the outward obscurations of pain, sorrow, and anxiety, is pure and simple joy; as we have most of us experienced during the few hours of our lives in which, the conscience being free, all bodily and external evils have been removed or at least quiescent. And, though these glimpses of perfect sunshine are few and far between, the joy of life will not be wholly obscured to us by any external evil--provided the breast is clear of remorse, envy, discontent, or any other habitually cherished sin. The opportunities and hindrances of joyful life are pretty fairly distributed among all classes and persons. God is just, and His mercy is over all His works. If gardens and parks are denied to the inhabitant of a city lane, his eye is so sharpened by its fasts that it can drink in its full share of the sweetness of nature from a flowering geranium or a pot of crocuses on his window-sill. There are really very few persons who have not enough to eat. Marriage is open almost equally to all, except, perhaps, the less wealthy members of the upper orders. None are without opportunities of joy and abundant reasons for gratitude: and the hindrances of joy are, if justly considered, only opportunities of acquiring new capacities for delight. In proportion as life becomes high and pure it becomes gay. The profound spiritualities of the Greek and Indian myths laugh for joy; and there are, perhaps, no passages of Scripture more fondly dwelt upon in the Roman Breviary than those which paint the gladness of the Uncreated Wisdom: “When he balanced the foundations of the earth, I was with him, forming all things: and was delighted every day, playing before him at all times, playing in the world: and my delight is to be with the children of men.”

VI

THE POINT OF REST IN ART

Coleridge, who had little technical knowledge of any art but that in which, when he was himself, he supremely excelled--poetry--had nevertheless a deeper insight into the fundamental principles of art than any modern writer, with the sole exception of Goethe. And this is one of his many fruitful sayings: “All harmony is founded on a relation to rest--on relative rest. Take a metallic plate and strew sand on it, sound an harmonic chord over the sand, and the grains will whirl about in circles and other geometrical figures, all, as it were, depending on some point of sand relatively at rest. Sound a discord, and every grain will whisk about without any order at all, in no figures, and with no point of rest.”