What stupendous constructive mental and physical possibilities are there to which I feel I am contributing, you may ask, when I feel that I contribute to this greater Being; and at once I confess I become vague and mystical. I do not wish to pass glibly over this point. I call your attention to the fact that here I am mystical and arbitrary. I am what I am, an individual in this present phase. I can see nothing of these possibilities except that they will be in the nature of those indefinable and overpowering gleams of promise in our world that we call Beauty. Elsewhere (in my “Food of the Gods”) I have tried to render my sense of our human possibility by monstrous images; I have written of those who will “stand on this earth as on a footstool and reach out their hands among the stars.” But that is mere rhetoric at best, a straining image of unimaginable things. Things move to Power and Beauty; I say that much and I have said all that I can say.
But what is Beauty, you ask, and what will Power do? And here I reach my utmost point in the direction of what you are free to call the rhapsodical and the incomprehensible. I will not even attempt to define Beauty. I will not because I cannot. To me it is a final, quite indefinable thing. Either you understand it or you do not. Every true artist and many who are not artists know—they know there is something that shows suddenly—it may be in music, it may be in painting, it may be in the sunlight on a glacier or a shadow cast by a furnace or the scent of a flower, it may be in the person or act of some fellow creature, but it is right, it is commanding, it is, to use theological language, the revelation of God.
To the mystery of Power and Beauty, out of the earth that mothered us, we move.
I do not attempt to define Beauty nor even to distinguish it from Power. I do not think indeed that one can effectually distinguish these aspects of life. I do not know how far Beauty may not be simply fulness and clearness of sensation, a momentary unveiling of things hitherto seen but dully and darkly. As I have already said, there may be beauty in the feeling of beer in the throat, in the taste of cheese in the mouth; there may be beauty in the scent of the earth, in the warmth of a body, in the sensation of waking from sleep. I use the word Beauty therefore in its widest possible sense, ranging far beyond the special beauties that art discovers and develops. Perhaps as we pass from death to life all things become beautiful. The utmost I can do in conveying what I mean by Beauty is to tell of things that I have perceived to be beautiful as beautifully as I can tell of them. It may be, as I suggest elsewhere, that Beauty is a thing synthetic and not simple; it is a common effect produced by a great medley of causes, a larger aspect of harmony.
But the question of what Beauty is does not very greatly concern me since I have known it when I met it and since almost every day in life I seem to apprehend it more and to find it more sufficient and satisfying. Objectively it may be altogether complex and various and synthetic, subjectively it is altogether simple. All analysis, all definition, must in the end rest upon and arrive at unanalyzable and indefinable things. Beauty is light—I fall back upon that image—it is all things that light can be, beacon, elucidation, pleasure, comfort and consolation, promise, warning, the vision of reality.
All books are sourced from Project Gutenberg