'The perfections of God are those of our own souls, but He possesses them without limit; He is the exhaustless ocean from which we have received but a drop; we have some power, some wisdom, some love; but God is all power, all wisdom, all love. Order, unity, proportion, harmony, enchant us; painting, sculpture, music, poetry, charm us in the degree in which, in their appropriate spheres, they have succeeded in manifesting fragments of the above: but God is all order, all proportion, all unity, all harmony; and all beauty visible here is but a dim reflex of the eternal rays.'
The fact of our deriving constant pleasure from whatever is a type or semblance of the divine attributes, and from nothing enduringly but that which is, is the most ennobling of all that can be said of human nature, not only setting a great gulf of specific separation between us and the brutes that perish, but it seems a promise of a communion ultimately deep, close, and conscious with the Being in whose darkened manifestations we here unconsciously and instinctively delight. It is at least probable that the higher the order of intelligences, the more of the divine image becomes palpable in all around them, and the redeemed spirits and angels may have perceptions as much more full and rapturous than ours, as ours than those of the beasts and creeping things. It may be received almost as an axiom that no natural instinct or desire can be entirely frustrated, and as these desires for the beautiful are so unfailing that they have not escaped the thinkers of any age, but were held divine of old, and even in heathen countries, it must be admitted that in these visionary pleasures, lightly as we may now be disposed to regard them, there are causes of gratitude, grounds of hope, anchors of faith, more than in all the manifold material gifts with which God mercifully crowns the years and hedges the path of men.
We turn to Plato to show how clearly such ideas were held by the thinkers of antiquity:
'Eternal beauty, not created, not made; exempt from increase or decay; not beautiful in one part and deformed in another, beautiful in such a time, such a place, such a relation; not beauty which hath any sensible parts or anything corporeal, or which may be found comprised in any one thought or science, or residing in any creation different from itself, as in an animal, the earth, or the heavens;—but absolute beauty, identical and invariable in itself; beauty in which, would they please the spirit of men, other things must participate, but their creation or destruction brings IT neither diminution, increase, nor the slightest change.'
Plotinus writes in the same spirit:
'Let him who has closed his eyes upon mere sensuous beauty, advance boldly into the depths of the sanctuary. Let him reverently gaze upon the true beauty, the original type of those pale and fleeting images to which he may have hitherto applied the holy name of beautiful.'
We propose to consider reverently and with a humble sense of the limited sphere from which we must regard the infinite, some of the divine attributes, which must, in the finite mode, enter into every creation of artistic excellence. We begin our reflections with the infinite itself.
Infinite—this word is by no means the expression of a clear idea: it is merely the expression of an effort to attain one. It stands for the possible attempt at an impossible conception. Man needed a term by which to point out the direction of this effort—the cloud behind which lay, forever invisible, the object of this attempt. The fact is, that upon the enunciation of any one of that class of terms to which 'infinite' belongs—the class representing thoughts of thought—he who has a right to say he thinks at all, feels himself called upon, not to entertain a conception, but simply to direct his mental vision toward some given point, in the intellectual firmament, where lies a nebula never to be resolved. And yet to this very point, which the intellect cannot define, are our spirits forever tending. No artistic creation ever fully pleases unless there is given in it some suggestion of this mystic attribute, underlying and permeating all other attributes of Deity. It is the dim unconscious feeling after this attribute which causes the forever recurring dissatisfaction with the finite, which so ruthlessly pursues us through life. It is the source of that vague but tender longing, that restless but dreamy yearning, that haunting melancholy, which characterize human souls created for the enjoyment of the infinite; divining and insatiably thirsting for the absolute.
Let us now attempt to trace some of the various ways in which this feeling after the infinite manifests itself. Plato and his school tried to explain the existence of absolute ideas in the soul by the hypothesis of its preëxistence to that of the body in the bosom of the Absolute, the Infinite, the Eternal; and, consequently, that such ideas are but reminiscences of a more perfect life. We find the following passage in an ode of Wordsworth's:
'Our birth is but a sleep, and a forgetting:
The soul that rises with us, our life's star,
Hath had elsewhere its setting,
And cometh from afar
Not in entire forgetfulness,
And not in utter nakedness,
But trailing clouds of glory do we come
From God, who is our home.
'Hence, in a season of calm weather,
Though inland far we be,
Our souls have sight of that immortal sea
Which brought us hither,
Can in a moment travel thither,
And see the children sport upon the shore,
And hear the mighty waters rolling evermore.'