The souls of beasts are material, exclaim other philosophers. These have not been more fortunate than the former. They are in vain asked what is a material soul? They say that it is a matter which has sensation; but who has given it this sensation? It is a material soul, that is to say, it is composed of a matter which gives sensation to matter. They cannot get out of this circle.
Listen to one kind of beasts reasoning upon another; their soul is a spiritual being, which dies with the body; but what proof have you of it? What idea have you of this spiritual being, which has sentiment, memory, and its share of ideas and combinations, but which can never tell what made a child of six years old? On what ground do you imagine that this being, which is not corporeal, perishes with the body? The greatest beasts are those who have suggested that this soul is neither body nor spiritan excellent system! We can only understand by spirit something unknown, which is not body. Thus the system of these gentlemen amounts to this, that the soul of beasts is a substance which is neither body, nor something which is not body. Whence can proceed so many contradictory errors? From the custom which men have of examining what a thing is before they know whether it exists. They call the speech the effect of a breath of mind, the soul of a sigh. What is the soul? It is a name which I have given to this valve which rises and falls, which lets the air in, relieves itself, and sends it through a pipe when I move the lungs.
There is not, then, a soul distinct from the machine. But what moves the lungs of animals? I have already said, the power that moves the stars. The philosopher who said, "Deus est animâ brutorum."—God is the soul of the brutes—is right; but he should have gone much further.
BEAUTIFUL (THE).
Since we have quoted Plato on love, why should we not quote him on "the beautiful," since beauty causes love. It is curious to know how a Greek spoke of the beautiful more than two thousand years since.
"The man initiated into the sacred mysteries, when he sees a beautiful face accompanied by a divine form, a something more than mortal, feels a secret emotion, and I know not what respectful fear. He regards this figure as a divinity.... When the influence of beauty enters into his soul by his eyes he burns; the wings of his soul are bedewed; they lose the hardness which retains their germs and liquefy themselves; these germs, swelling beneath the roots of its wings, they expand from every part of the soul (for soul had wings formerly)," etc.
I am willing to believe that nothing is finer than this discourse of the divine Plato; but it does not give us very clear ideas of the nature of the beautiful.
Ask a toad what is beauty—the great beauty To Kalon; he will answer that it is the female with two great round eyes coming out of her little head, her large flat mouth, her yellow belly, and brown back. Ask a negro of Guinea; beauty is to him a black, oily skin, sunken eyes, and a flat nose. Ask the devil; he will tell you that the beautiful consists in a pair of horns, four claws, and a tail. Then consult the philosophers; they will answer you with jargon; they must have something conformable to the archetype of the essence of the beautiful—to the To Kalon.
I was once attending a tragedy near a philosopher. "How beautiful that is," said he. "What do you find beautiful?" asked I. "It is," said he, "that the author has attained his object." The next day he took his medicine, which did him some good. "It has attained its object," cried I to him; "it is a beautiful medicine." He comprehended that it could not be said that a medicine is beautiful, and that to apply to anything the epithet beautiful it must cause admiration and pleasure. He admitted that the tragedy had inspired him with these two sentiments, and that it was the To Kalon, the beautiful.