Thus we reach the common truth recognized equally by Greek art and by Japanese art, namely, the non-moral significance of individual expression. And our admiration of the art reflecting personality is, of course, non-moral, since the delineation of individual imperfection is not, in the ethical sense, a subject for admiration.
Although the facial aspects which really attract us may be considered the outward correlatives of inward perfections, or of approaches to perfections, we generally confess an interest in physiognomy which by no means speaks to us of inward moral perfections, but rather suggests perfections of the reverse order. This fact is manifested even in daily life. When we exclaim, "What force!" on seeing a head with prominent bushy brows, incisive nose, deep-set eyes, and a massive jaw, we are indeed expressing our recognition of force, but only of the sort of force underlying instincts of aggression and brutality. When we commend the character of certain strong aquiline faces, certain so-called Roman profiles, we are really com-mending the traits that mark a race of prey. It is true that we do not admire faces in which only brutal, or cruel, or cunning traits exist; but it is true also that we admire the indications of obstinacy, aggressiveness, and harshness when united with certain indications of intelligence. It may even be said that we associate the idea of manhood with the idea of aggressive power more than with the idea of any other power. Whether this power be physical or intellectual, we estimate it in our popular preferences, at least, above the really superior powers of the mind, and call intelligent cunning by the euphemism of "shrewdness." Probably the manifestation in some modern human being of the Greek ideal of masculine beauty would interest the average observer less than a face presenting an abnormal development of traits the reverse of noble,—since the intellectual significance of perfect beauty could be realized only by persons capable of appreciating the miracle of a perfect balance of the highest possible human faculties. In modern art we look for the feminine beauty which appeals to the feeling of sex, or for that child-beauty which appeals to the instincts of parenthood; and we should characterize real beauty in the portrayal of manhood not only as unnatural, but as effeminate. War and love are still the two dominant tones in that reflection of modern life which our serious art gives. But it will be noticed that when the artist would exhibit the ideal of beauty or of virtue, he is still obliged to borrow from antique knowledge. As a borrower, he is never quite successful, since he belongs to a humanity in many respects much below the ancient Greek level. A German philosopher has well said, "The resuscitated Greeks would, with perfect truth, declare our works of art in all departments to be thoroughly barbarous." How could they be otherwise in an age which openly admires intelligence less because of its power to create and preserve than because of its power to crush and destroy?
Why this admiration of capacities which we should certainly not like to have exercised against ourselves? Largely, no doubt, because we admire what we wish to possess, and we understand the immense value of aggressive power, intellectual especially, in the great competitive struggle of modern civilization.
As reflecting both the trivial actualities and the personal emotionalism of Western life, our art would be found ethically not only below Greek art, but even below Japanese. Greek art expressed the aspiration of a race toward the divinely beautiful and the divinely wise. Japanese art reflects the simple joy of existence, the perception of natural law in form and color, the perception of natural law in change, and the sense of life made harmonious by social order and by self-suppression, Modern Western art reflects the thirst of pleasure, the idea of life as a battle for the right to enjoy, and the unamiable qualities which are indispensable to success in the competitive struggle.
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It has been said that the history of Western civilization is written in Western physiognomy. It is at least interesting to study Western facial expression through Oriental eyes. I have frequently amused myself by showing European or American illustrations to Japanese children, and hearing their artless comments upon the faces therein depicted. A complete record of these comments might prove to have value as well as interest; but for present purposes I shall offer only the results of two experiments.
The first was with a little boy, nine years old, before whom, one evening, I placed several numbers of an illustrated magazine. After turning over a few of the pages, he exclaimed, "Why do foreign artists like to draw horrible things?"
"What horrible things?" I inquired.
"These," he said, pointing to a group of figures representing voters at the polls.
"Why, those are not horrible," I answered. "We think those drawings very good."