History of European Morals From Augustus to Charlemagne (Vol. 1&2). William Edward Hartpole Lecky

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СКАЧАТЬ feel that there is a strict propriety in the term moral beauty. We feel that there are different forms of beauty which have a natural correspondence to different moral qualities, and much of the charm of poetry and eloquence rests upon this harmony. We feel that we have a direct, immediate, intuitive perception that some objects, such as the sky above us, are beautiful, that this perception of beauty is totally different, and could not possibly be derived, from a perception of their utility, and that it bears a very striking resemblance to the instantaneous and unreasoning admiration elicited by a generous or heroic action. We perceive too, if we examine with care the operations of our own mind, that an æsthetical judgment includes an intuition or intellectual perception, and an emotion of attraction or admiration, very similar to those which compose a moral judgment. The very idea of beauty again implies that it should be admired, as the idea of happiness implies that it should be desired, and the idea of duty that it should be performed. There is also a striking correspondence between the degree and kind of uniformity we can in each case discover. That there is a difference between right and wrong, and between beauty and ugliness, are both propositions which are universally felt. That right is better than wrong, and beauty than ugliness, are equally unquestioned. When we go further, and attempt to define the nature of these qualities, we are met indeed by great diversities of detail, but by a far larger amount of substantial unity. Poems like the Iliad or the Psalms, springing in the most dissimilar quarters, have commanded the admiration of men, through all the changes of some 3,000 years. The charm of music, the harmony of the female countenance, the majesty of the starry sky, of the ocean or of the mountain, the gentler beauties of the murmuring stream or of the twilight shades, were felt, as they are felt now, when the imagination of the infant world first embodied itself in written words. And in the same way types of heroism, and of virtue, descending from the remotest ages, command the admiration of mankind. We can sympathise with the emotions of praise or blame revealed in the earliest historians, and the most ancient moralists strike a responsive chord in every heart. The broad lines remain unchanged. No one ever contended that justice was a vice or injustice a virtue; or that a summer sunset was a repulsive object, or that the sores upon a human body were beautiful. Always, too, the objects of æsthetical admiration were divided into two great classes, the sublime and the beautiful, which in ethics have their manifest counterparts in the heroic and the amiable.

      If, again, we examine the undoubted diversities that exist in judgments of virtue and of beauty, we soon discover that in each case a large proportion of them are to be ascribed to the different degrees of civilisation. The moral standard changes within certain limits, and according to a regular process with the evolutions of society. There are virtues very highly estimated in a rude civilisation which sink into comparative insignificance in an organised society, while conversely, virtues that were deemed secondary in the first become primary in the other. There are even virtues that it is impossible for any but highly cultivated minds to recognise. Questions of virtue and vice, such as the difference between humanity and barbarity, or between temperance and intemperance, are sometimes merely questions of degree, and the standard at one stage of civilisation may be much higher than at another. Just in the same way a steady modification of tastes, while a recognition of the broad features of beauty remains unchanged, accompanies advancing civilisation. The preference of gaudy to subdued tints, of colour to form, of a florid to a chaste style, of convulsive attitudes, gigantic figures, and strong emotions, may be looked for with considerable confidence in an uninstructed people. The refining influence of cultivation is in no sphere more remarkable than in the canons of taste it produces, and there are few better measures of the civilisation of a people than the conceptions of beauty it forms, the type or ideal it endeavours to realise.

      Many diversities, however, both of moral and æsthetical judgments, may be traced to accidental causes. Some one who is greatly admired, or who possesses great influence, is distinguished by some peculiarity of appearance, or introduces some peculiarity of dress. He will soon find countless imitators. Gradually the natural sense of beauty will become vitiated; the eye and the taste will adjust themselves to a false and artificial standard, and men will at last judge according to it with the most absolute spontaneity. In the same way, if any accidental circumstance has elevated an indifferent action to peculiar honour, if a religious system enforces it as a virtue or brands it as a vice, the consciences of men will after a time accommodate themselves to the sentence, and an appeal to a wider than a local tribunal is necessary to correct the error. Every nation, again, from its peculiar circumstances and position, tends to some particular type, both of beauty and of virtue, and it naturally extols its national type beyond all others. The virtues of a small poor nation, living among barren mountains, surrounded by powerful enemies, and maintaining its independence only by the most inflexible discipline, watchfulness, and courage, will be in some degree different from those of a rich people removed from all fear of invasion and placed in the centre of commerce. The former will look with a very lenient eye on acts of barbarity or treachery, which to the latter would appear unspeakably horrible, and will value very highly certain virtues of discipline which the other will comparatively neglect. So, too, the conceptions of beauty formed by a nation of negroes will be different from those formed by a nation of whites;101 the splendour of a tropical sky or the savage grandeur of a northern ocean, the aspect of great mountains or of wide plains, will not only supply nations with present images of sublimity or beauty, but will also contribute to form their standard and affect their judgments. Local customs or observances become so interwoven with our earliest recollections, that we at last regard them as essentially venerable, and even in the most trivial matters it requires a certain effort to dissolve the association. There was much wisdom as well as much wit in the picture of the novelist who described the English footman's contempt for the uniforms of the French, “blue being altogether ridiculous for regimentals, except in the blue guards and artillery;” and I suppose there are few Englishmen into whose first confused impression of France there does not enter a half-instinctive feeling of repugnance caused by the ferocious appearance of a peasantry who are all dressed like butchers.102

      It has been said103 that “the feelings of beauty, grandeur, and whatever else is comprehended under the name of taste, do not lead to action, but terminate in delightful contemplation, which constitutes the essential distinction between them and the moral sentiments to which in some points of view they may doubtless be likened.” This position I conceive to be altogether untenable. Our æsthetical judgment is of the nature of a preference. It leads us to prefer one class of objects to another, and whenever other things are equal, becomes a ground for action. In choosing the persons with whom we live, the neighbourhood we inhabit, the objects that surround us, we prefer that which is beautiful to that which is the reverse, and in every case in which a choice between beauty and deformity is in question, and no counteracting motive intervenes, we choose the former, and avoid the latter. There are no doubt innumerable events in life in which this question does not arise, but there are also very many in which we are not called upon to make a moral judgment. We say a man is actuated by strong moral principle who chooses according to its dictates in every case involving a moral judgment that comes naturally before him, and who in obedience to its impulse pursues special courses of action. Corresponding propositions may be maintained with perfect truth concerning our sense of beauty. In proportion to its strength does it guide our course in ordinary life, and determine our peculiar pursuits. We may indeed sacrifice our sense of material beauty to considerations of utility with much more alacrity than our sense of moral beauty; we may consent to build a shapeless house sooner than to commit a dishonourable action, but we cannot voluntarily choose that which is simply deformed, rather than that which is beautiful, without a certain feeling of pain, and a pain of this kind, according to the school of Hartley, is the precise definition of conscience. Nor is it at all difficult to conceive men with a sense of beauty so strong that they would die rather than outrage it.

      Considering all these things, it is not surprising that many moralists should have regarded moral excellence as simply the highest form of beauty, and moral cultivation as the supreme refinement of taste. But although this manner of regarding it is, as I think, far more plausible than the theory which resolves virtue into utility, although the Greek moralists and the school of Shaftesbury have abundantly proved that there is an extremely close connection between these orders of ideas, there are two considerations which appear to show the inadequacy of this theory. We are clearly СКАЧАТЬ