No Evidence of its Existence except its Effect.—That it is relative, and not absolute, may be argued from the fact that we have no evidence of any such quality or cause, save as in operation, save as producing effects in us; and as we could never have inferred the existence of the cause, had it not been for the effect produced, so we have no reason to suppose its existence when and where it does not manifest itself in operation, that is to say, when and where it is not observed. As the spark from the smitten steel is not strictly to be regarded as itself a property of the steel, nor yet of the flint, but as a relative phenomenon arising from the collision of the two, so beauty, it may be said, dwells not absolutely in the object per se, nor yet in the intelligent subject, but is a phenomenon resulting from the relation of the two.
Further Argument from diversity of Effects.—The same may be argued from the diversity of the effects produced. If beauty is a fixed, absolute quality of objects, it may be said, then the effects ought to be uniformly the same; whereas there is, in fact, no such uniformity, no standard of beauty, none of taste, but what seems to one man exceedingly fine, excites only the aversion and disgust of another, and even the same person is at different times differently affected by the same object. Hence it may be inferred that the beauty is merely a relation between the mind and the object contemplated, varying as the mind varies.
Reply to the first Argument.—To these arguments I reply, in the first place, that it is not necessary that a cause should be in actual operation, under our immediate eye, in order that we should conclude its independent and constant existence. If, whenever the occasion returns, the effects are observed, we conclude that the cause exists per se, and not merely in relation to us. Otherwise we could never believe the absolute existence of any thing, but should, with Berkley and Hume, call in question the existence of matter itself, save as phenomenal and relative to our senses. The same argument that makes the beauty of a rose relative merely to the observer, makes the rose itself merely a relative existence. How do I know that it exists? I see it, feel it, smell it; it lies upon my table; it affects my senses. I turn away now. I leave the room. How do I know now that the rose exists? It no longer affects my senses; the cause no longer operates; the effect is no longer produced. I have just as much reason to say it no longer exists, as to say it is no longer beautiful.
Reply to the second Argument.—To the argument from the diversity of effect, I reply, that admitting the fact to be as stated, viz., that the same object is differently regarded by different minds, the diversity may arise from either of two sources. The want of uniformity may lie in the cause, or it may lie in the minds affected by it. The exciting cause may vary, and the effects produced by it will then be diverse; or the minds on which it operates may differ, and in that case, also, the effects will be diverse. We are not to conclude, then, from diversity of effect that the cause is not uniform. A beautiful object, it is true, affects different observers differently, but the reason of the diversity may be in them and not in the object.
What then is the fact? Are the minds of all observers equally susceptible of impression from the beautiful? By no means. They differ in education, habit of thought, culture, taste, native sensibility, and many other things. Hardly two minds can be found that are not diverse in these respects. Ought we then to expect absolute uniformity of effect?
Not to be conceded that there is no Agreement.—It is by no means to be conceded, however, that there is no such thing as a standard of beauty or of taste, no general agreement among men as to what is or is not beautiful, no general agreement as to the emotions produced. There is such agreement in both respects. Within certain limits it is uniform and complete. Certain aspects of nature, and certain works of art, are, in all ages, and by all men, regarded as beautiful. The Apollo Belvidere, and the Venus of the Capitol, are to us what they were to the ancients; the perfection of the beautiful. The great work of Raphael, scarcely finished at his death, the last touches still fresh from his hand—that work which, as it hung above his bier, drew tears from all eyes, and filled with admiration all hearts—is still the wonder and admiration of men. And so it will be in centuries to come. And so of the emotions produced by the contemplation of the beautiful. Making due allowance for habits of association, mental culture, and differences of native sensibility, we shall find men affected much in the same way by the beautiful in nature or art. The men of the same class and condition as to these matters—the peasant of one age or country, and the peasant of another, the philosopher of one time, and of another, the wealthy, uneducated citizen, and the fashionable fool, of one period and nation, and of another—experience much the same effects in view of one and the same object. The same general laws, too, preside over and regulate the different arts which have relation to the beautiful, in all ages of the world.
Consequences of the Theory that Beauty is merely relative.—If beauty be not absolute but relative only, it follows, 1. That, if there were no observers of nature or art, neither would be longer beautiful. 2. If, for any reason any thing is for the time unseen, as, e. g., a pearl in the sea, a precious stone in the mine, or a rich jewel in the casket, it has no beauty so long as it is there and thus. 3. As minds vary in susceptibility of impression, the same thing is beautiful to one person and not to another; at one time and not at another; nay, at one and the same moment it is both beautiful and not beautiful, according as the minds of the observers vary. I cannot say with truth, that the Mosaics of St. Peter's, or the great diamond of the East, are, at this moment, really beautiful, because I do not know who, or whether any one, may, at this moment, be looking at them.
Intimate Relation between the Mind and the Object.—While I maintain, however, the existence of beauty as an absolute and independent quality of objects, and not merely as relative to the mind that perceives and enjoys it, I would, by no means, overlook the very intimate relation which subsists, in the present case, between the perceiving mind and the object perceived. Beauty makes its appeal primarily to the senses. It pleases and charms us, because we are endowed with senses and a nature fitted to receive pleasure from such objects. In the adaptation of our physical and mental constitution to the order and constitution of material things as they exist without, lies the secret of that power which the beautiful exerts over us.
Might have been otherwise constituted.—We might have been so constituted, doubtless, that the most beautiful objects should have been disgusting, rather than pleasing: the violet should have seemed an ugly thing, and the sweetest strains of music harsh and discordant. There are disordered senses, and disordered minds, to which, even now, those things, which we call beautiful, may so appear. For that adaptation of our sensitive nature to external objects, and of these objects to our sensitive nature, by virtue of which, the percipient mind recognizes and feels the beauty of the object perceived, and takes delight in it, we are indebted wholly to the wisdom and benevolence of the great Creator.
The Doctrine maintained.—Still, given, the present constitution and mutual adaptation of mind and matter, and we affirm the independent existence of the beautiful as an object per se, and not merely as an affection of the percipient mind. The perception and enjoyment of the beauty are subjective, relative, dependent; the beauty itself not so.