The Sense of Beauty - George Santayana (best short books to read .txt) 📗

the invitation to wander along some by-path of the fancy, among scenes not essentially impossible, but not to be actually enacted by us on account of the fixed circumstances of our lives. If the picture is agreeable, we allow ourselves to dream it true. We forget its relations; we forbid the eye to wander beyond the frame of the stage, or the conventions of the fiction. We indulge an illusion which deepens our sense of the essential pleasantness of things.

So far, there is nothing in comedy that is not delightful, except, perhaps, the moment when it is over. But fiction, like all error or abstraction, is necessarily unstable; and the awakening is not always reserved for the disheartening moment at the end. Everywhere, when we are dealing with pretension or mistake, we come upon sudden and vivid contradictions; changes of view, transformations of apperception which are extremely stimulating to the imagination. We have spoken of one of these: when the sudden dissolution of our common habits of thought lifts us into a mystical contemplation, filled with the sense of the sublime; when the transformation is back to common sense and reality, and away from some fiction, we have a very different emotion. We feel cheated, relieved, abashed, or amused, in proportion as our sympathy attaches more to the point of view surrendered or to that attained.

The disintegration of mental forms and their redintegration is the life of the imagination. It is a spiritual process of birth and death, nutrition and generation. The strongest emotions accompany these changes, and vary infinitely with their variations. All the qualities of discourse, wit, eloquence, cogency, absurdity, are feelings incidental to this process, and involved in the juxtapositions, tensions, and resolutions of our ideas. Doubtless the last explanation of these things would be cerebral; but we are as yet confined to verbal descriptions and classifications of them, which are always more or less arbitrary.

The most conspicuous headings under which comic effects are gathered are perhaps incongruity and degradation. But clearly it cannot be the logical essence of incongruity or degradation that constitutes the comic; for then contradiction and deterioration would always amuse. Amusement is a much more directly physical thing. We may be amused without any idea at all, as when we are tickled, or laugh in sympathy with others by a contagious imitation of their gestures. We may be amused by the mere repetition of a thing at first not amusing. There must therefore be some nervous excitement on which the feeling of amusement directly depends, although this excitement may most often coincide with a sudden transition to an incongruous or meaner image. Nor can we suppose that particular ideational excitement to be entirely dissimilar to all others; wit is often hardly distinguishable from brilliancy, as humour from pathos. We must, therefore, be satisfied with saying vaguely that the process of ideation involves various feelings of movement and relation, — feelings capable of infinite gradation and complexity, and ranging from sublimity to tedium and from pathos to uncontrollable merriment.

Certain crude and obvious cases of the comic seem to consist of little more than a shock of surprise: a pun is a sort of jack-in-the-box, popping from nowhere into our plodding thoughts. The liveliness of the interruption, and its futility, often please; dulce est desipere in loco; and yet those who must endure the society of inveterate jokers know how intolerable this sort of scintillation can become. There is something inherently vulgar about it; perhaps because our train of thought cannot be very entertaining in itself when we are so glad to break in upon it with irrelevant nullities. The same undertone of disgust mingles with other amusing surprises, as when a dignified personage slips and falls, or some disguise is thrown off, or those things are mentioned and described which convention ignores. The novelty and the freedom please, yet the shock often outlasts the pleasure, and we have cause to wish we had been stimulated by something which did not involve this degradation. So, also, the impossibility in plausibility which tickles the fancy in Irish bulls, and in wild exaggerations, leaves an uncomfortable impression, a certain aftertaste of foolishness.

The reason will be apparent if we stop to analyze the situation. We have a prosaic background of common sense and every-day reality; upon this background an unexpected idea suddenly impinges. But the thing is a futility. The comic accident falsifies the nature before us, starts a wrong analogy in the mind, a suggestion that cannot be carried out. In a word, we are in the presence of an absurdity; and man, being a rational animal, can like absurdity no better than he can like hunger or cold. A pinch of either may not be so bad, and he will endure it merrily enough if you repay him with abundance of warm victuals; so, too, he will play with all kinds of nonsense for the sake of laughter and good fellowship and the tickling of his fancy with a sort of caricature of thought. But the qualm remains, and the pleasure is never perfect. The same exhilaration might have come without the falsification, just as repose follows more swiftly after pleasant than after painful exertions.

Fun is a good thing, but only when it spoils nothing better. The best place for absurdity is in the midst of what is already absurd — then we have the play of fancy without the sense of ineptitude. Things amuse us in the mouth of a fool that would not amuse us in that of a gentleman; a fact which shows how little incongruity and degradation have to do with our pleasure in the comic. In fact, there is a kind of congruity and method even in fooling. The incongruous and the degraded displease us even there, as by their nature they must at all times. The shock which they bring may sometimes be the occasion of a subsequent pleasure, by attracting our attention, or by stimulating passions, such as scorn, or cruelty, or self-satisfaction (for there is a good deal of malice in our love of fun); but the incongruity and degradation, as such, always remain unpleasant. The pleasure comes from the inward rationality and movement of the fiction, not from its inconsistency with anything else. There are a great many topsy-turvy worlds possible to our fancy, into which we like to drop at times. We enjoy the stimulation and the shaking up of our wits. It is like getting into a new posture, or hearing a new song.

Nonsense is good only because common sense is so limited. For reason, after all, is one convention picked out of a thousand. We love expansion, not disorder, and when we attain freedom without incongruity we have a much greater and a much purer delight. The excellence of wit can dispense with absurdity. For on the same prosaic background of common sense, a novelty might have appeared that was not absurd, that stimulated the attention quite as much as the ridiculous, without so baffling the intelligence. This purer and more thoroughly delightful amusement comes from what we call wit.

Wit.

§ 62. Wit also depends upon transformation and substitution of ideas. It has been said to consist in quick association by similarity. The substitution must here be valid, however, and the similarity real, though unforeseen. Unexpected justness makes wit, as sudden incongruity makes pleasant foolishness. It is characteristic of wit to penetrate into hidden depths of things, to pick out there some telling circumstance or relation, by noting which the whole object appears in a new and clearer light. Wit often seems malicious because analysis in discovering common traits and universal principles assimilates things at the poles of being; it can apply to cookery the formulas of theology, and find in the human heart a case of the fulcrum and lever. We commonly keep the departments of experience distinct; we think that different principles hold in each and that the dignity of spirit is inconsistent with the explanation of it by physical analogy, and the meanness of matter unworthy of being an illustration of moral truths. Love must not be classed under physical cravings, nor faith under hypnotization. When, therefore, an original mind overleaps these boundaries, and recasts its categories, mixing up our old classifications, we feel that the values of things are also confused. But these depended upon a deeper relation, upon their response to human needs and aspirations. All that can be changed by the exercise of intelligence is our sense of the unity and homogeneity of the world. We may come to hold an object of thought in less isolated respect, and another in less hasty derision; but the pleasures we derive from all, or our total happiness and wonder, will hardly be diminished. For this reason the malicious or destructive character of intelligence must not be regarded as fundamental. Wit belittles one thing and dignifies another; and its comparisons are as often flattering as ironical.

The same process of mind that we observed in wit gives rise to those effects we call charming, brilliant, or inspired. When Shakespeare says,

     Come and kiss me, sweet and twenty,
     Youth's a stuff will not endure,

the fancy of the phrase consists in a happy substitution, a merry way of saying something both true and tender. And where could we find a more exquisite charm? So, to take a weightier example, when St. Augustine is made to say that pagan virtues were splendid vices, we have — at least if we catch the full meaning — a pungent assimilation of contrary things, by force of a powerful principle; a triumph of theory, the boldness of which can only be matched by its consistency. In fact, a phrase could not be more brilliant, or better condense one theology and two civilizations. The Latin mind is particularly capable of this sort of excellence. Tacitus alone could furnish a hundred examples. It goes with the power of satirical and bitter eloquence, a sort of scornful rudeness of intelligence, that makes for the core of a passion or of a character, and affixes to it a more or less scandalous label. For in our analytical zeal it is often possible to condense and abstract too much. Reality is more fluid and elusive than reason, and has, as it were, more dimensions than are known even to the latest geometry. Hence the understanding, when not suffused with some glow of sympathetic emotion or some touch of mysticism, gives but a dry, crude image of the world. The quality of wit inspires more admiration than confidence. It is a merit we should miss little in any one we love.

The same principle, however, can have more sentimental embodiments. When our substitutions are brought on by the excitement of generous emotion, we call wit inspiration. There is the same finding of new analogies, and likening of disparate things; there is the same transformation of our apperception. But the brilliancy is here not only penetrating, but also exalting. For instance:

     Peace, peace, he is not dead, he doth not sleep,
          He hath awakened from the dream of life:
     'Tis we that wrapped in stormy visions keep
          With phantoms an unprofitable strife.

There is here paradox, and paradox justified by reflection. The poet analyzes, and analyzes without reserve. The dream, the storm, the phantoms, and the unprofitableness could easily make a satirical picture. But the mood is transmuted; the mind takes an upward flight, with a sense of liberation from the convention it dissolves, and of freer motion in the vagueness beyond. The disintegration of our ideal here leads to mysticism, and because of this effort towards transcendence, the brilliancy becomes sublime.

Humour.

§ 63. A different mood can give a different direction to the same processes. The sympathy by which we reproduce the feeling of another, is always very much opposed to the aesthetic attitude to which the whole world is merely a stimulus to our sensibility. In the tragic, we have seen how the