A Dish of Orts : Chiefly Papers on the Imagination and on Shakespeare - George MacDonald (free romance novels txt) 📗

intellectual development or assertion of equality. Nor, if they are other than mere partisans, will they refuse the attempt because in its success men will, after all, be equal, if not greater gainers, if only thereby they should be "feelingly persuaded" what they are.] But will the girl be less likely to marry a gentleman , in the grand old meaning of the sixteenth century? when it was no irreverence to call our Lord

"The first true gentleman that ever breathed;"

or in that of the fourteenth?-when Chaucer teaching "whom is worthy to be called gentill," writes thus:-

"The first stocke was full of rightwisnes,
Trewe of his worde, sober, pitous and free,
Clene of his goste, and loved besinesse,
Against the vice of slouth in honeste;
And but his heire love vertue as did he,
He is not gentill though he rich seme,
All weare he miter, crowne, or diademe."

Will she be less likely to marry one who honours women, and for their sakes, as well as his own, honours himself? Or to speak from what many would regard as the mother's side of the question-will the girl be more likely, because of such a culture of her imagination, to refuse the wise, true-hearted, generous rich man, and fall in love with the talking, verse-making fool, because he is poor, as if that were a virtue for which he had striven? The highest imagination and the lowliest common sense are always on one side.

For the end of imagination is harmony . A right imagination, being the reflex of the creation, will fall in with the divine order of things as the highest form of its own operation; "will tune its instrument here at the door" to the divine harmonies within; will be content alone with growth towards the divine idea, which includes all that is beautiful in the imperfect imaginations of men; will know that every deviation from that growth is downward; and will therefore send the man forth from its loftiest representations to do the commonest duty of the most wearisome calling in a hearty and hopeful spirit. This is the work of the right imagination; and towards this work every imagination, in proportion to the rightness that is in it, will tend. The reveries even of the wise man will make him stronger for his work; his dreaming as well as his thinking will render him sorry for past failure, and hopeful of future success.

To come now to the culture of the imagination. Its development is one of the main ends of the divine education of life with all its efforts and experiences. Therefore the first and essential means for its culture must be an ordering of our life towards harmony with its ideal in the mind of God. As he that is willing to do the will of the Father, shall know of the doctrine, so, we doubt not, he that will do the will of THE POET, shall behold the Beautiful. For all is God's; and the man who is growing into harmony with His will, is growing into harmony with himself; all the hidden glories of his being are coming out into the light of humble consciousness; so that at the last he shall be a pure microcosm, faithfully reflecting, after his manner, the mighty macrocosm. We believe, therefore, that nothing will do so much for the intellect or the imagination as being good -we do not mean after any formula or any creed, but simply after the faith of Him who did the will of his Father in heaven.

But if we speak of direct means for the culture of the imagination, the whole is comprised in two words-food and exercise. If you want strong arms, take animal food, and row. Feed your imagination with food convenient for it, and exercise it, not in the contortions of the acrobat, but in the movements of the gymnast. And first for the food.

Goethe has told us that the way to develop the aesthetic faculty is to have constantly before our eyes, that is, in the room we most frequent, some work of the best attainable art. This will teach us to refuse the evil and choose the good. It will plant itself in our minds and become our counsellor. Involuntarily, unconsciously, we shall compare with its perfection everything that comes before us for judgment. Now, although no better advice could he given, it involves one danger, that of narrowness. And not easily, in dread of this danger, would one change his tutor, and so procure variety of instruction. But in the culture of the imagination, books, although not the only, are the readiest means of supplying the food convenient for it, and a hundred books may he had where even one work of art of the right sort is unattainable, seeing such must he of some size as well as of thorough excellence. And in variety alone is safety from the danger of the convenient food becoming the inconvenient model.

Let us suppose, then, that one who himself justly estimates the imagination is anxious to develop its operation in his child. No doubt the best beginning, especially if the child be young, is an acquaintance with nature, in which let him he encouraged to observe vital phenomena, to put things together, to speculate from what he sees to what he does not see. But let earnest care be taken that upon no matter shall he go on talking foolishly. Let him be as fanciful as he may, but let him not, even in his fancy, sin against fancy's sense; for fancy has its laws as certainly as the most ordinary business of life. When he is silly, let him know it and be ashamed.

But where this association with nature is but occasionally possible, recourse must be had to literature. In books, we not only have store of all results of the imagination, but in them, as in her workshop, we may behold her embodying before our very eyes, in music of speech, in wonder of words, till her work, like a golden dish set with shining jewels, and adorned by the hands of the cunning workmen, stands finished before us. In this kind, then, the best must be set before the learner, that he may eat and not be satisfied; for the finest products of the imagination are of the best nourishment for the beginnings of that imagination. And the mind of the teacher must mediate between the work of art and the mind of the pupil, bringing them together in the vital contact of intelligence; directing the observation to the lines of expression, the points of force; and helping the mind to repose upon the whole, so that no separable beauties shall lead to a neglect of the scope-that is the shape or form complete. And ever he must seek to show excellence rather than talk about it, giving the thing itself, that it may grow into the mind, and not a eulogy of his own upon the thing; isolating the point worthy of remark rather than making many remarks upon the point.

Especially must he endeavour to show the spiritual scaffolding or skeleton of any work of art; those main ideas upon which the shape is constructed, and around which the rest group as ministering dependencies.

But he will not, therefore, pass over that intellectual structure without which the other could not be manifested. He will not forget the builder while he admires the architect. While he dwells with delight on the relation of the peculiar arch to the meaning of the whole cathedral, he will not think it needless to explain the principles on which it is constructed, or even how those principles are carried out in actual process. Neither yet will the tracery of its windows, the foliage of its crockets, or the fretting of its mouldings be forgotten. Every beauty will have its word, only all beauties will be subordinated to the final beauty-that is, the unity of the whole.

Thus doing, he shall perform the true office of friendship. He will introduce his pupil into the society which he himself prizes most, surrounding him with the genial presence of the high-minded, that this good company may work its own kind in him who frequents it.

But he will likewise seek to turn him aside from such company, whether of books or of men, as might tend to lower his reverence, his choice, or his standard. He will, therefore, discourage indiscriminate reading, and that worse than waste which consists in skimming the books of a circulating library. He knows that if a book is worth reading at all, it is worth reading well; and that, if it is not worth reading, it is only to the most accomplished reader that it can be worth skimming. He will seek to make him discern, not merely between the good and the evil, but between the good and the not so good. And this not for the sake of sharpening the intellect, still less of generating that self-satisfaction which is the closest attendant upon criticism, but for the sake of choosing the best path and the best companions upon it. A spirit of criticism for the sake of distinguishing only, or, far worse, for the sake of having one's opinion ready upon demand, is not merely repulsive to all true thinkers, but is, in itself, destructive of all thinking. A spirit of criticism for the sake of the truth-a spirit that does not start from its chamber at every noise, but waits till its presence is desired-cannot, indeed, garnish the house, but can sweep it clean. Were there enough of such wise criticism, there would be ten times the study of the best writers of the past, and perhaps one-tenth of the admiration for the ephemeral productions of the day. A gathered mountain of misplaced worships would be swept into the sea by the study of one good book; and while what was good in an inferior book would still be admired, the relative position of the book would be altered and its influence lessened.

Speaking of true learning, Lord Bacon says: "It taketh away vain admiration of anything, which is the root of all weakness ."

The right teacher would have his pupil easy to please, but ill to satisfy; ready to enjoy, unready to embrace; keen to discover beauty, slow to say, "Here I will dwell."

But he will not confine his instructions to the region of art. He will encourage him to read history with an eye eager for the dawning figure of the past. He will especially show him that a great part of the Bible is only thus to be understood; and that the constant and consistent way of God, to be discovered in it, is in fact the key to all history.

In the history of individuals, as well, he will try to show him how to put sign and token together, constructing not indeed a whole, but a probable suggestion of the whole.

And, again, while showing him the reflex of nature in the poets, he will not be satisfied without sending him to Nature herself; urging him in country rambles to keep open eyes for the sweet fashionings and blendings of her operation around him; and in city walks to watch the "human face divine."

Once more: he will point out to him the essential difference between reverie and thought; between dreaming and imagining. He will teach him not to mistake fancy, either in himself or in others for imagination, and to beware of hunting after resemblances that carry with them no interpretation.