Kitabı oku: «Illustrations of Universal Progress: A Series of Discussions», sayfa 29

It is now an acknowledged truth in psychology, that the cerebrum is not occupied with direct impressions from without, but with the ideas of such impressions: instead of the actual sensations produced in the body, and directly appreciated by the sensory ganglia or primitive nervous centres, the cerebrum receives only the representations of these sensations; and its consciousness is called representative consciousness, to distinguish it from the original or presentative consciousness. Is it not significant that we have hit on the same word to distinguish the function of our House of Commons? We call it a representative body, because the interests with which it deals – the pains and pleasures about which it consults – are not directly presented to it, but represented to it by its various members; and a debate is a conflict of representations of the evils or benefits likely to follow from a proposed course – a description which applies with equal truth to a debate in the individual consciousness. In both cases, too, these great governing masses take no part in the executive functions. As, after a conflict in the cerebrum, those desires which finally predominate, act on the subjacent ganglia, and through their instrumentality determine the bodily actions; so the parties which, after a parliamentary struggle, gain the victory, do not themselves carry out their wishes, but get them carried out by the executive divisions of the Government. The fulfilment of all legislative decisions still devolves on the original directive centres – the impulse passing from the Parliament to the Ministers, and from the Ministers to the King, in whose name everything is done; just as those smaller, first-developed ganglia, which in the lowest vertebrata are the chief controlling agents, are still, in the brains of the higher vertebrata, the agents through which the dictates of the cerebrum are worked out. Moreover, in both cases these original centres become increasingly automatic. In the developed vertebrate animal, they have little function beyond that of conveying impressions to, and executing the determinations of, the larger centres. In our highly organized government, the monarch has long been lapsing into a passive agent of Parliament; and now, ministers are rapidly falling into the same position.

Nay, between the two cases there is a parallelism, even in respect of the exceptions to this automatic action. For in the individual creature, it happens that under circumstances of sudden alarm, as from a loud sound close at hand, an unexpected object starting up in front, or a slip from insecure footing, the danger is guarded against by some quick involuntary jump, or adjustment of the limbs, that takes place before there is time to consider the impending evil, and take deliberate measures to avoid it: the rationale of which is, that these violent impressions produced on the senses, are reflected from the sensory ganglia to the spinal cord and muscles, without, as in ordinary cases, first passing through the cerebrum. In like manner, on national emergencies, calling for prompt action, the King and Ministry, not having time to lay the matter before the great deliberative bodies, themselves issue commands for the requisite movements or precautions: the primitive, and now almost automatic, directive centres, resume for a moment their original uncontrolled power. And then, strangest of all, observe that in either case there is an afterprocess of approval or disapproval. The individual on recovering from his automatic start, at once contemplates the cause of his fright; and, according to the case, concludes that it was well he moved as he did, or condemns himself for his groundless alarm. In like manner, the deliberative powers of the State, discuss, as soon as may be, the unauthorized acts of the executive powers; and, deciding that the reasons were or were not sufficient, grant or withhold a bill of indemnity.²²

Thus far in comparing the governmental organization of the body politic with that of an individual body, we have considered only the respective co-ordinating centres. We have yet to consider the channels through which these co-ordinating centres receive information and convey commands. In the simplest societies, as in the simplest organisms, there is no "internuncial apparatus," as Hunter styled the nervous system. Consequently, impressions can be but slowly propagated from unit to unit throughout the whole mass. The same progress, however, which, in animal-organization, shows itself in the establishment of ganglia or directive centres, shows itself also in the establishment of nerve-threads, through which the ganglia receive and convey impressions, and so control remote organs. And in societies the like eventually takes place.

After a long period during which the directive centres communicate with various parts of the society through other means, there at last comes into existence an "internuncial apparatus," analogous to that found in individual bodies. The comparison of telegraph-wires to nerves, is familiar to all. It applies, however, to an extent not commonly supposed. We do not refer to the near alliance between the subtle forces employed in the two cases; though it is now held that the nerve-force, if not literally electric, is still a special form of electric action, related to the ordinary form much as magnetism is. But we refer to the structural arrangements of our telegraph-system. Thus, throughout the vertebrate sub-kingdom, the great nerve-bundles diverge from the vertebrate axis, side by side with the great arteries; and similarly, our groups of telegraph-wires are carried along the sides of our railways. The most striking parallelism, however, remains. Into each great bundle of nerves, as it leaves the axis of the body along with an artery, there enters a branch of the sympathetic nerve; which branch, accompanying the artery throughout its ramifications, has the function of regulating its diameter and otherwise controlling the flow of blood through it according to the local requirements. Analogously, in the group of telegraph-wires running alongside each railway, there is one for the purpose of regulating the traffic – for retarding or expediting the flow of passengers and commodities, as the local conditions demand. Probably, when our now rudimentary telegraph-system is fully developed, other analogies will be traceable.

Such, then, is a general outline of the evidence which justifies, in detail, the comparison of societies to living organisms. That they gradually increase in mass; that they become little by little more complex; that at the same time their parts grow more mutually dependent; and that they continue to live and grow as wholes, while successive generations of their units appear and disappear; are broad peculiarities which bodies politic display, in common with all living bodies; and in which they and living bodies differ from everything else. And on carrying out the comparison in detail, we find that these major analogies involve many minor analogies, far closer than might have been expected. To these we would gladly have added others. We had hoped to say something respecting the different types of social organization, and something also on social metamorphoses; but we have reached our assigned limits.

XI.
USE AND BEAUTY

In one of his essays, Emerson remarks, that what Nature at one time provides for use, she afterwards turns to ornament; and he cites in illustration the structure of a sea-shell, in which the parts that have for a while formed the mouth are at the next season of growth left behind, and become decorative nodes and spines.

It has often occurred to me that this same remark might be extended to the progress of Humanity. Here, too, the appliances of one era serve as embellishments to the next. Equally in institutions, creeds, customs, and superstitions, we may trace this evolution of beauty out of what was once purely utilitarian.

The contrast between the feeling with which we regard portions of the Earth's surface still left in their original state, and the feeling with which the savage regarded them, is an instance that naturally comes first in order of time. If any one walking over Hampstead Heath, will note how strongly its picturesqueness is brought out by contrast with the surrounding cultivated fields and the masses of houses lying in the distance; and will further reflect that, had this irregular gorse-covered surface extended on all sides to the horizon, it would have looked dreary and prosaic rather than pleasing; he will see that to the primitive man a country so clothed presented no beauty at all. To him it was merely a haunt of wild animals, and a ground out of which roots might be dug. What have become for us places of relaxation and enjoyment – places for afternoon strolls and for gathering flowers – were his places for labour and food, probably arousing in his mind none but utilitarian associations.

Ruined castles afford an obvious instance of this metamorphosis of the useful into the beautiful. To feudal barons and their retainers, security was the chief, if not the only end, sought in choosing the sites and styles of their strongholds. Probably they aimed as little at the picturesque as do the builders of cheap brick houses in our modern towns. Yet what where erected for shelter and safety, and what in those early days fulfilled an important function in the social economy, have now assumed a purely ornamental character. They serve as scenes for picnics; pictures of them decorate our drawing-rooms; and each supplies its surrounding districts with legends for Christmas Eve.

Following out the train of thought suggested by this last illustration, we may see that not only do the material exuviæ of past social states become the ornaments of our landscapes; but that past habits, manners, and arrangements, serve as ornamental elements in our literature. The tyrannies that, to the serfs who bore them, were harsh and dreary facts; the feuds which, to those who took part in them, were very practical life-and-death affairs; the mailed, moated, sentinelled security that was irksome to the nobles who needed it; the imprisonments, and tortures, and escapes, which were stern and quite prosaic realities to all concerned in them; have become to us material for romantic tales – material which when woven into Ivanhoes and Marmions, serves for amusement in leisure hours, and become poetical by contrast with our daily lives. Thus, also, is it with extinct creeds. Stonehenge, which in the hands of the Druids had a governmental influence over men, is in our day a place for antiquarian excursions; and its attendant priests are worked up into an opera. Greek sculptures, preserved for their beauty in our galleries of art, and copied for the decoration of pleasure grounds and entrance halls, once lived in men's minds as gods demanding obedience; as did also the grotesque idols that now amuse the visitors to our museums.

Equally marked is this change of function in the case of minor superstitions. The fairy lore, which in past times was matter of grave belief, and held sway over people's conduct, has since been transformed into ornament for A Midsummer Night's Dream, The Tempest, The Fairy Queen, and endless small tales and poems; and still affords subjects for children's story-books, themes for ballets, and plots for Planché's burlesques. Gnomes, and genii, and afrits, losing all their terrors, give piquancy to the woodcuts in our illustrated edition of the Arabian Nights. While ghost-stories, and tales of magic and witchcraft, after serving to amuse boys and girls in their leisure hours, become matter for jocose allusions that enliven tea-table conversation.

Even our serious literature and our speeches are very generally relieved by ornaments drawn from such sources. A Greek myth is often used as a parallel by which to vary the monotony of some grave argument. The lecturer breaks the dead level of his practical discourse by illustrations drawn from bygone customs, events, or beliefs. And metaphors, similarly derived, give brilliancy to political orations, and to Times leading articles.

Indeed, on careful inquiry, I think it will be found that we turn to purposes of beauty most bygone phenomena that are at all conspicuous. The busts of great men in our libraries, and their tombs in our churches; the once useful but now purely ornamental heraldic symbols; the monks, nuns, and convents, that give interest to a certain class of novels; the bronze mediæval soldiers used for embellishing drawing-rooms; the gilt Apollos that recline on time-pieces; the narratives that serve as plots for our great dramas; and the events that afford subjects for historical pictures; – these and such like illustrations of the metamorphosis of the useful into the beautiful, are so numerous as to suggest that, did we search diligently enough, we should find that in some place, or under some circumstances, nearly every notable product of the past has assumed a decorative character.

And here the mention of historical pictures reminds me that an inference may be drawn from all this, bearing directly on the practice of art. It has of late years been a frequent criticism upon our historical painters, that they err in choosing their subjects from the past; and that, would they found a genuine and vital school, they must render on canvas the life and deeds and aims of our own time. If, however, there be any significance in the foregoing facts, it seems doubtful whether this criticism is a just one. For if it be the process of things, that what has performed some practical function in society during one era, becomes available for ornament in a subsequent one; it almost follows that, conversely, whatever is performing some practical function now, or has very recently performed one, does not possess the ornamental character; and is, consequently, inapplicable to any purpose of which beauty is the aim, or of which it is a needful ingredient.

Still more reasonable will this conclusion appear, when we consider the nature of this process by which the useful is changed into the ornamental. An essential pre-requisite to all beauty is contrast. To obtain artistic effect, light must be put in juxtaposition with shade, bright colours with dull colours, a fretted surface with a plain one. Forte passages in music must have piano passages to relieve them; concerted pieces need interspersing with solos; and rich chords must not be continuously repeated. In the drama we demand contrast of characters, of scenes, of sentiment, of style. In prose composition an eloquent passage should have a comparatively plain setting; and in poems great effect is obtained by occasional change of versification. This general principle will, I think, explain the transformation of the bygone useful into the present beautiful. It is by virtue of their contrast with our present modes of life, that past modes of life look interesting and romantic. Just as a picnic, which is a temporary return to an aboriginal condition, derives, from its unfamiliarity, a certain poetry which it would not have were it habitual; so, everything ancient gains, from its relative novelty to us, an element of interest. Gradually as, by the growth of society, we leave behind the customs, manners, arrangements, and all the products, material and mental, of a bygone age – gradually as we recede from these so far that there arises a conspicuous difference between them and those we are familiar with; so gradually do they begin to assume to us a poetical aspect, and become applicable for ornament. And hence it follows that things and events which are close to us, and which are accompanied by associations of ideas not markedly contrasted with our ordinary associations are relatively inappropriate for purposes of art.

XII.
THE SOURCES OF ARCHITECTURAL TYPES

When lately looking through the gallery of the Old Water-Colour Society, I was struck with the incongruity produced by putting regular architecture into irregular scenery. In one case, where the artist had introduced a perfectly symmetrical Grecian edifice into a mountainous and somewhat wild landscape, the discordant effect was particularly marked. "How very unpicturesque," said a lady to her friend, as they passed; showing that I was not alone in my opinion. Her phrase, however, set me speculating. Why unpicturesque? Picturesque means, like a picture – like what men choose for pictures. Why then should this be not fit for a picture?

Thinking the matter over, it seemed to me that the artist had sinned against that unity which is essential to a good picture. When the other constituents of a landscape have irregular forms, any artificial structure introduced must have an irregular form, that it may seem part of the landscape. The same general character must pervade it and surrounding objects; otherwise it, and the scene amid which it stands, become not one thing but two things; and we say it looks out of place. Or, speaking psychologically, the associated ideas called up by a building with its wings, windows, and all its parts symmetrically disposed, differ widely from the ideas associated with an entirely irregular landscape; and the one set of ideas tends to banish the other.

Pursuing the train of thought, sundry illustrative facts came to my mind. I remembered that a castle, which is more irregular in outline than any other kind of building, pleases us most when seated amid crags and precipices; while a castle on a plain seems an incongruity. The partly-regular and partly-irregular forms of our old farm-houses, and our gabled gothic manors and abbeys, appear quite in harmony with an undulating, wooded country. In towns we prefer symmetrical architecture; and in towns it produces in us no feeling of incongruity, because all surrounding things – men, horses, vehicles – are symmetrical also.

And here I was reminded of a notion that has frequently recurred to me; namely, that there is some relationship between the several kinds of architecture and the several classes of natural objects. Buildings in the Greek and Roman styles seem, in virtue of their symmetry, to take their type from animal life. In the partly-irregular Gothic, ideas derived from the vegetable world appear to predominate. And wholly irregular buildings, such as castles, may be considered as having inorganic forms for their basis.

Whimsical as this speculation looks at first sight, it is countenanced by numerous facts. The connexion between symmetrical architecture and animal forms, may be inferred from the kind of symmetry we expect, and are satisfied with, in regular buildings. Thus in a Greek temple we require that the front shall be symmetrical in itself, and that the two flanks shall be alike; but we do not look for uniformity between the flanks and the front, nor between the front and the back. The identity of this symmetry with that found in animals is obvious. Again, why is it that a building making any pretension to symmetry displeases us if not quite symmetrical? Probably the reply will be – Because we see that the designer's idea is not fully carried out; and that hence our love of completeness is offended. But then there come the further questions – How do we know that the architect's conception was symmetrical? Whence comes this notion of symmetry which we have, and which we attribute to him? Unless we fall back upon the old doctrine of innate ideas, we must admit that the idea of bilateral symmetry is derived from without; and to admit this is to admit that it is derived from the higher animals.

That there is some relationship between Gothic architecture and vegetable forms is a position generally admitted. The often-remarked analogy between a groined nave and an avenue of trees with interlacing branches, shows that the fact has forced itself on men's observation. It is not only in this analogy, however, that the kinship is seen. It is seen still better in the essential characteristic of Gothic; namely, what is termed its aspiring tendency. That predominance of vertical lines which so strongly distinguishes Gothic from other styles, is the most marked peculiarity of trees, when compared with animals or rocks. To persons of active imagination, a tall Gothic tower, with its elongated apertures and clusters of thin projections running from bottom to top, suggests a vague notion of growth.

Of the alleged connexion between inorganic forms and the wholly irregular and the castellated styles of building, we have, I think, some proof in the fact that when an edifice is irregular, the more irregular it is the more it pleases us. I see no way of accounting for this fact, save by supposing that the greater the irregularity the more strongly are we reminded of the inorganic forms typified, and the more vividly are aroused the agreeable ideas of rugged and romantic scenery associated with those forms.

Further evidence of these several relationships of styles of architecture to classes of natural objects, is supplied by the kinds of decoration they respectively represent. The public buildings of Greece, while characterized in their outlines by the bilateral symmetry seen in the higher animals, have their pediments and entablatures covered with sculptured men and beasts. Egyptian temples and Assyrian palaces, while similarly symmetrical in their general plan, are similarly ornamented on their walls and at their doors. In Gothic, again, with its grove-like ranges of clustered columns, we find rich foliated ornaments abundantly employed. And accompanying the totally irregular, inorganic outlines of old castles, we see neither vegetable nor animal decorations. The bare, rock-like walls are surmounted by battlements, consisting of almost plain blocks, which remind us of the projections on the edge of a rugged cliff.

But perhaps the most significant fact is the harmony that may be observed between each type of architecture and the scenes in which it is indigenous. For what is the explanation of this harmony, unless it be that the predominant character of surrounding things has, in some way, determined the mode of building adopted?

That the harmony exists is clear. Equally in the cases of Egypt, Assyria, Greece, and Rome, town life preceded the construction of the symmetrical buildings that have come down to us. And town life is one in which, as already observed, the majority of familiar objects are symmetrical. We instinctively feel the naturalness of this association. Out amid the fields, a formal house, with a central door flanked by an equal number of windows to right and left, strikes us as unrural – looks as though transplanted from a street; and we cannot look at one of those stuccoed villas, with mock windows carefully arranged to balance the real ones, without being reminded of the suburban residence of a retired tradesman.

In styles indigenous in the country, we not only find the general irregularity characteristic of surrounding things, but we may trace some kinship between each kind of irregularity and the local circumstances. We see the broken rocky masses amid which castles are commonly placed, mirrored in their stern, inorganic forms. In abbeys, and such-like buildings, which are commonly found in comparatively sheltered districts, we find no such violent dislocations of masses and outlines; and the nakedness appropriate to the fortress is replaced by decorations reflecting the neighbouring woods. Between a Swiss cottage and a Swiss view there is an evident relationship. The angular roof, so bold and so disproportionately large when compared to other roofs, reminds one of the adjacent mountain peaks; and the broad overhanging eaves have a sweep and inclination like those of the lower branches of a pine tree. Consider, too, the apparent kinship between the flat roofs that prevail in Eastern cities, interspersed with occasional minarets, and the plains that commonly surround them, dotted here and there by palm trees. You cannot contemplate a picture of one of these places, without being struck by the predominance of horizontal lines, and their harmony with the wide stretch of the landscape.

That the congruity here pointed out should hold in every case must not be expected. The Pyramids, for example, do not seem to come under this generalization. Their repeated horizontal lines do indeed conform to the flatness of the neighbouring desert; but their general contour seems to have no adjacent analogue. Considering, however, that migrating races, carrying their architectural systems with them, would naturally produce buildings having no relationship to their new localities; and that it is not always possible to distinguish styles which are indigenous, from those which are naturalized; numerous anomalies must be looked for.

The general idea above illustrated will perhaps be somewhat misinterpreted. Possibly some will take the proposition to be that men intentionally gave to their buildings the leading characteristics of neighbouring objects. But this is not what is meant. I do not suppose that they did so in times past, any more than they do so now. The hypothesis is, that in their choice of forms men are unconsciously influenced by the forms encircling them. That flat-roofed, symmetrical architecture should have originated in the East, among pastoral tribes surrounded by their herds and by wide plains, seems to imply that the builders were swayed by the horizontality and symmetry to which they were habituated. And the harmony which we have found to exist in other cases between indigenous styles and their localities, implies the general action of like influences. Indeed, on considering the matter psychologically, I do not see how it could well be otherwise. For as all conceptions must be made up of images, and parts of images, received through the senses – as it is impossible for a man to conceive any design save one of which the elements have come into his mind from without; and as his imagination will most readily run in the direction of his habitual perceptions; it follows, almost necessarily, that the characteristic which predominates in these habitual perceptions must impress itself on his design.