Essays: Scientific, Political, and Speculative, Volume II

“Richter says, in the Island of Sumatra there is a kind of ‘Light-chafers,’ large Fire-flies, which people stick upon spits, and illuminate the ways with at night. Persons of condition can thus travel with a pleasant radiance, which they much admire. Great honour to the Fire-flies! But – ! – ”

Before inquiring whether the law of effect thus far traced, explains the impressiveness of poetry as compared with prose, it will be needful to notice some causes of force in expression which had not yet been mentioned. These are not, properly speaking, additional causes; but rather secondary ones, originating from those already specified. One is that mental excitement spontaneously prompts those forms of speech which have been pointed out as the most effective. “Out with him!” “Away with him!” are the cries of angry citizens at a disturbed meeting. A voyager, describing a terrible storm he had witnessed, would rise to some such climax as – “Crack went the ropes, and down came the mast.” Astonishment may be heard expressed in the phrase – “Never was there such a sight!” All of which sentences are constructed after the direct type. Again, there is the fact that excited persons are given to figures of speech. The vituperation of the vulgar abounds with them. “Beast,” “brute,” “gallows rogue,” “cut-throat villain,” these, and like metaphors or metaphorical epithets, call to mind a street quarrel. Further, it may be noticed that extreme brevity is a trait of passionate language. The sentences are generally incomplete; and frequently important words are left to be gathered from the context. Great admiration does not vent itself in a precise proposition, as – “It is beautiful;” but in the simple exclamation, – “Beautiful!” He who, when reading a lawyer’s letter, should say, “Vile rascal!” would be thought angry; while, “He is a vile rascal,” would imply comparative coolness. Thus alike in the order of the words, in the frequent use of figures, and in extreme conciseness, the natural utterances of excitement conform to the theoretical conditions to forcible expression.

Hence such forms of speech acquire a secondary strength from association. Having, in daily intercourse, heard them in connection with vivid mental impressions; and having been accustomed to meet with them in writing of unusual power; they come to have in themselves a species of force. The emotions that have from time to time been produced by the strong thoughts wrapped up in these forms, are partially aroused by the forms themselves. These create a preparatory sympathy; and when the striking ideas looked for are reached, they are the more vividly pictured.

The continuous use of words and forms that are alike forcible in themselves and forcible from their associations, produces the impressive species of composition which we call poetry. The poet habitually adopts those symbols of thought, and those methods of using them, which instinct and analysis agree in choosing as most effective. On turning back to the various specimens which have been quoted, it will be seen that the direct or inverted form of sentence predominates in them; and that to a degree inadmissible in prose. Not only in the frequency, but in what is termed the violence of the inversions, may this distinction be remarked. The abundant use of figures, again, exhibits the same truth. Metaphors, similes, hyperboles, and personifications, are the poet’s colours, which he has liberty to employ almost without limit. We characterize as “poetical” the prose which uses these appliances of language with frequency; and condemn it as “over florid” or “affected” long before they occur with the profusion allowed in verse. Once more, in brevity – the other requisite of forcible expression which theory points out and emotion spontaneously fulfils – poetical phraseology differs from ordinary phraseology. Imperfect periods are frequent; elisions are perpetual; and many minor words which would be deemed essential in prose, are dispensed with.

Thus poetry is especially impressive partly because it conforms to all the laws of effective speech, and partly because in so doing it imitates the natural utterances of excitement. While the matter embodied is idealized emotion, the vehicle is the idealized language of emotion. As the musical composer catches the cadences in which our feelings of joy and sympathy, grief and despair, vent themselves, and out of these germs evolves melodies suggesting higher phases of these feelings; so, the poet develops from the typical expressions in which men utter passion and sentiment, those choice forms of verbal combination in which concentrated passion and sentiment may be fitly presented.

There is one peculiarity of poetry conducing much to its effect – the peculiarity which is indeed usually thought its characteristic one – still remaining to be considered: we mean its rhythmical structure. This, improbable though it seems, will be found to come under the same generalization with the others. Like each of them, it is an idealization of the natural language of emotion, which is not uncommonly more or less metrical if the emotion be not too violent; and like each of them it economizes the reader’s or hearer’s attention. In the peculiar tone and manner we adopt in uttering versified language, may be discerned its relationship to the feelings; and the pleasure which its measured movement gives, is ascribable to the comparative ease with which words metrically arranged can be recognized. This last position will not be at once admitted; but explanation will justify it. If, as we have seen, there is an expenditure of mental energy in so listening to verbal articulations as to identify the words, or in that silent repetition of them which goes on in reading, then, any mode of so combining words as to present a regular recurrence of certain traits which can be anticipated, will diminish that strain on the attention entailed by the total irregularity of prose. Just as the body, when receiving a series of varying concussions, must keep its muscles ready to meet the most violent of them, as not knowing when such may come; so, the mind when receiving unarranged articulations, must keep its perceptive faculties active enough to recognize the least easily caught sounds. And as, if the concussions recur in a definite order, the body may husband its forces by adjusting the resistance needful for each concussion; so, if the syllables be rhythmically arranged, the mind may economize its energies by anticipating the attention required for each syllable. Far-fetched though this idea will be thought, introspection countenances it. That we do take advantage of metrical language to adjust our perceptive faculties to the expected articulations, is clear from the fact that we are balked by halting versification. Much as at the bottom of a flight of stairs, a step more or less than we counted upon gives us a shock; so, too, does a misplaced accent or a supernumerary syllable. In the one case, we know that there is an erroneous pre-adjustment; and we can scarcely doubt that there is one in the other. But if we habitually pre-adjust our perceptions to the measured movement of verse, the physical analogy above given renders it probable that by so doing we economize attention; and hence that metrical language is more effective than prose, because it enables us to do this.

Were there space, it might be worth while to inquire whether the pleasure we take in rhyme, and also that which we take in euphony, are not partly ascribable to the same general cause.

A few paragraphs only, can be devoted to a second division of our subject. To pursue in detail the laws of effect, as applying to the larger features of composition, would carry us beyond our limits. But we may briefly indicate a further aspect of the general principle hitherto traced, and hint a few of its wider applications.

Thus far, we have considered only those causes of force in language which depend on economy of the mental energies. We have now to glance at those which depend on economy of the mental sensibilities. Questionable though this division may be as a psychological one, it will serve roughly to indicate the remaining field of investigation. It will suggest that besides considering the extent to which any faculty or group of faculties is tasked in receiving a form of words and constructing its contained idea, we have to consider the state in which this faculty or group of faculties is left; and how the reception of subsequent sentences and images will be influenced by that state. Without going fully into so wide a topic as the action of faculties and its reactive effects, it will suffice to recall the fact that every faculty is exhausted by exercise. This generalization, which our bodily experiences force upon us, and which in daily speech is recognized as true of the mind as a whole, is true of each mental power, from the simplest of the senses to the most complex of the sentiments. If we hold a flower to the nose for long, we become insensible to its scent. We say of a brilliant flash of lightning that it blinds us; which means that our eyes have for a time lost their ability to appreciate light. After eating honey, we are apt to think our tea is without sugar. The phrase “a deafening roar,” implies that men find a very loud sound temporarily incapacitates them for hearing faint sounds. To a hand which has for some time carried a heavy body, small bodies afterwards lifted seem to have lost their weight. Now, the truth thus exemplified, may be traced throughout. Alike of the reflective faculties, the imagination, the perceptions of the beautiful, the ludicrous, the sublime, it may be shown that action exhausts; and that in proportion as the action is violent the subsequent prostration is great.

Equally throughout the whole nature, may be traced the law that exercised faculties are ever tending to resume their original states. Not only after continued rest, do they regain their full powers – not only are brief cessations in the demands on them followed by partial re-invigoration; but even while they are in action, the resulting exhaustion is ever being neutralized. The processes of waste and repair go on together. Hence with faculties habitually exercised – as the senses of all persons, or the muscles of any one who is strong – it happens that, during moderate activity, the repair is so nearly equal to the waste, that the diminution of power is scarcely appreciable. It is only when effort has been long continued, or has been violent, that repair becomes so far in arrear of waste as to cause a perceptible enfeeblement. In all cases, however, when, by the action of a faculty, waste has been incurred, some lapse of time must take place before full efficiency can be reacquired; and this time must be long in proportion as the waste has been great.

Keeping in mind these general truths, we shall be in a condition to understand certain causes of effect in composition now to be considered. Every perception received, and every conception framed, entailing some amount of waste in the nervous system, and the efficiency of the faculties employed being for a time, though often but momentarily, diminished; the resulting partial inability affects the acts of perception and conception that immediately succeed. Hence the vividness with which images are pictured must, in many cases, depend on the order of their presentation; even when one order is as convenient to the understanding as the other. Sundry facts illustrate this truth, and are explained by it: instance climax and anti-climax. The marked effect obtained by placing last the most striking of any series of ideas, and the weakness – often the ludicrous weakness – produced by reversing this arrangement, depends on the general law indicated. As immediately after looking at the sun we cannot perceive the light of a fire, while by looking at the fire first and the sun afterwards we can perceive both; so, after receiving a brilliant, or weighty, or terrible thought, we cannot properly appreciate a less brilliant, less weighty, or less terrible one, though by reversing the order, we can appreciate each. In Antithesis, again, the like truth is exemplified. The opposition of two thoughts which are the reverse of each other in some prominent trait, insures an impressive effect; and does this by giving a momentary relaxation to the faculties addressed. If, after a series of ordinary images exciting in a moderate degree to the emotion of reverence, or approbation, or beauty, the mind has presented to it an insignificant, or unworthy, or ugly image; the structure which yields the emotion of reverence, or approbation, or beauty, having for the time nothing to do, tends to resume its full power; and will immediately afterwards appreciate anything vast, admirable, or beautiful better than it would otherwise do. Conversely, where the idea of absurdity due to extreme insignificance is to be produced, it may be intensified by placing it after something impressive; especially if the form of phrase implies that something still more impressive is coming. A good illustration of the effect gained by thus presenting a petty idea to a consciousness which has not yet recovered from the shock of an exciting one, occurs in a sketch by Balzac. His hero writes to a mistress who has cooled towards him, the following letter: —

“Madame, – Votre conduite m’étonne autant qu’elle m’afflige. Non contente de me déchirer le cœur par vos dédains, vous avez l’indélicatesse de me retenir une brosse à dents, que mes moyens ne me permettent pas de remplacer, mes propriétés étant grevées d’hypothèques au delà de leur valeur.

“Adieu, trop belle et trop ingrate amie! Puissions-nous nous revoir dans un monde meilleur!

“CHARLES-EDOUARD.”

Thus the phenomena of Climax, Antithesis, and Anticlimax, alike result from this general principle. Improbable as these momentary variations in susceptibility may seem, we cannot doubt their occurrence when we contemplate the analogous variations in the susceptibility of the senses. Every one knows that a patch of black on a white ground looks blacker, and a patch of white on a black ground looks whiter, than elsewhere. As the blackness and the whiteness are really the same, the only assignable cause, is a difference in their actions upon us, dependent on the different states of our faculties. The effect is due to a visual antithesis.

But this extension of the general principle of economy – this further condition to effective composition, that the sensitiveness of the faculties must be husbanded – includes much more than has been yet hinted. Not only does it follow that certain arrangements and certain juxtapositions of connected ideas are best; but also that some modes of dividing and presenting a subject will be more striking than others, irrespective of logical cohesion. We are shown why we must progress from the less interesting to the more interesting; alike in the composition as a whole, and in each successive portion. At the same time, the indicated requirement negatives long continuity of the same kind of thought, or repeated production of like effects. It warns us against the error committed by Pope in his poems and by Bacon in his essays – the error of constantly employing forcible forms of expression. As the easiest posture by and by becomes fatiguing, and is with pleasure exchanged for one less easy; so, the most perfectly-constructed sentences unceasingly used must cause weariness, and relief will be given by using those of inferior kinds. Further, we may infer not only that we ought to avoid generally combining our words in one manner, however good, or working out our figures and illustrations in one way, however telling; but that we ought to avoid anything like uniform adherence to the wider conditions of effect. We should not make every division of our subject progress in interest; we should not always rise to a climax. As we saw that in single sentences it is but rarely allowable to fulfil all the conditions to strength; so, in the larger sections of a composition we must not often conform entirely to the principles indicated. We must subordinate the component effects to the total effect.

The species of composition which the law we have traced out indicates as the perfect one, is the one which genius tends naturally to produce. As we found that the kinds of sentence which are theoretically best, are those commonly employed by superior minds, and by inferior minds when temporarily exalted; so, we shall find that the ideal form for a poem, essay, or fiction, is that which the ideal writer would evolve spontaneously. One in whom the powers of expression fully responded to the state of feeling, would unconsciously use that variety in the mode of presenting his thoughts, which Art demands. Constant employment of one species of phraseology implies an undeveloped linguistic faculty. To have a specific style is to be poor in speech. If we remember that in the far past, men had only nouns and verbs to convey their ideas with, and that from then to now the progress has been towards more numerous implements of thought, and towards greater complexity and variety in their combinations; we may infer that, in the use of sentences, we are at present much what the primitive man was in the use of words; and that a continuance of the process which has hitherto gone on, must produce increasing heterogeneity in our modes of expression. As now, in a fine nature, the play of the features, the tones of the voice and its cadences, vary in harmony with every thought uttered; so, in one possessed of fully-developed powers of language, the mould in which each combination of words is cast will vary with, and be appropriate to, the mental state. That a perfectly-endowed man must unconsciously write in all styles, we may infer from considering how styles originate. Why is Johnson pompous, Goldsmith simple? Why is one author abrupt, another involved, another concise? Evidently in each case the habitual mode of utterance depends on the habitual balance of the nature. The dominant feelings have by use trained the intellect to represent them. But while long habit has made it do this efficiently, it remains, from lack of practice, unable to do the like for the less active feelings; and when these are excited, the usual verbal forms undergo but slight modifications. But let the ability of the intellect to represent the mental state be complete, and this fixity of style will disappear. The perfect writer will be now rhythmical and now irregular; here his language will be plain and there ornate; sometimes his sentences will be balanced and at other times unsymmetrical; for a while there will be considerable sameness, and then again great variety. His mode of expression naturally responding to his thought and emotion, there will flow from his pen a composition changing as the aspects of his subject change. He will thus without effort conform to what we have seen to be the laws of effect. And while his work presents to the reader that variety needful to prevent continuous exertion of the same faculties, it will also answer to the description of all highly-organized products both of man and nature. It will be, not a series of like parts simply placed in juxtaposition, but one whole made up of unlike parts that are mutually dependent.

POSTSCRIPT. – The conclusion that because of their comparative brevity and because of those stronger associations formed by more frequent use, words of Old-English origin are preferable to words derived from Latin or Greek, should be taken with two qualifications, which it seems needful to add here.

In some cases the word furnished by our original tongue, and the corresponding word directly or indirectly derived from Latin, though nominally equivalents, are not actually such; and the word of Latin origin, by certain extra connotations it has acquired, may be the more expressive. For instance, we have no word of native origin which can be advantageously substituted for the word “grand.” No such words as “big” or “great,” which connote little more than superiority in size or quantity, can be used instead: they do not imply that qualitative superiority which is associated with the idea of grandeur. As adopted into our own language, the word “grand” has been differentiated from “great” by habitual use in those cases where the greatness has an æsthetic superiority. In this case, then, a word of Latin origin is better than its nearest equivalent of native origin, because by use it has acquired an additional meaning. And here, too, we may conveniently note the fact that the greater brevity of a word does not invariably conduce to greater force. Where the word, instead of being one conveying a subordinate component of the idea the sentence expresses, is one conveying the central element of the idea, on which the attention may with advantage rest a moment, a longer word is sometimes better than a shorter word. Thus it may be held that the sentence – “It is grand” is not so effective as the sentence – “It is magnificent.” Besides the fact that here greater length of the word favours a longer dwelling on the essential part of the thought, there is the fact that its greater length, aided by its division into syllables, gives opportunity for a cadence appropriate to the feeling produced by the thing characterized. By an ascent of the voice on the syllable “nif,” and an utterance of this syllable, not only in a higher note, but with greater emphasis than the preceding or succeeding syllables, there is implied that emotion which contemplation of the object produces; and the emotion thus implied is, by sympathy, communicated. One may say that in the case of these two words, if the imposingness is alone to be considered, the word “magnificent” may with advantage be employed; but if the sentence expresses a proposition in which, not the imposingness itself, but something about the imposingness, is to be expressed, then the word “grand” is preferable.

The second qualification above referred to, concerns the superiority of words derived from Latin or Greek, in cases where more or less abstract ideas have to be expressed. In such cases it is undesirable to use words having concrete associations; for such words, by the very vividness with which they call up thoughts of particular objects or particular actions, impede the formation of conceptions which refer, not to particular objects and actions, but to general truths concerning objects or actions of kinds that are more or less various. Thus, such an expression as “the colligation of facts” is better for philosophical purposes than such an expression as “the tying together of facts.” This last expression cannot be used without suggesting the thought of a bundle of material things bound up by a string or cord – a thought which, in so far as the materiality of its components is concerned, conflicts with the conception to be suggested. Though it is true that when its derivation is remembered, “colligation” raises the same thought, yet, as the thought is not so promptly or irresistibly raised, it stands less in the way of the abstract conception with which attention should be exclusively occupied.

USE AND BEAUTY

[ First published in The Leader for January 3, 1852.]

In one of his essays, Emerson remarks, that what Nature at one time provides for use, she afterwards turns to ornament; and he cites in illustration the structure of a sea-shell, in which the parts that have for a while formed the mouth are at the next season of growth left behind, and become decorative nodes and spines.

Ignoring the implied teleology, which does not here concern us, it has often occurred to me that this same remark might be extended to the progress of Humanity. Here, too, the appliances of one era serve as embellishments to the next. Equally in institutions, creeds, customs, and superstitions, we may trace this evolution of beauty out of what was once purely utilitarian.

The contrast between the feeling with which we regard portions of the Earth’s surface still left in their original state, and the feeling with which the savage regarded them, is an instance that comes first in order of time. If any one walking over Hampstead Heath, will note how strongly its picturesqueness is brought out by contrast with the surrounding cultivated fields and the masses of houses lying in the distance; and will further reflect that, had this irregular gorse-covered surface extended on all sides to the horizon, it would have looked dreary and prosaic rather than pleasing; he will see that to the primitive man a country so clothed presented no beauty at all. To him it was merely a haunt of wild animals, and a ground out of which roots might be dug. What have become for us places of relaxation and enjoyment – places for afternoon strolls and for gathering flowers – were his places for labour and food, probably arousing in his mind none but utilitarian associations.

Ruined castles afford obvious instances of this metamorphosis of the useful into the beautiful. To feudal barons and their retainers, security was the chief, if not the only end, sought in choosing the sites and styles of their strongholds. Probably they aimed as little at the picturesque as do the builders of cheap brick houses in our modern towns. Yet what were erected for shelter and safety, and what in those early days fulfilled an important function in the social economy, have now assumed a purely ornamental character. They serve as scenes for picnics; pictures of them decorate our drawing-rooms; and each supplies its surrounding districts with legends for Christmas Eve.

On following out the train of thought suggested by this last illustration, we may see that not only do the material exuviæ of past social states become the ornaments of our landscapes; but that past habits, manners, and arrangements, serve as ornamental elements in our literature. The tyrannies which, to the serfs who bore them, were harsh and dreary facts; the feuds which, to those who took part in them, were very practical life-and-death affairs; the mailed, moated, sentinelled security which was irksome to the nobles who needed it; the imprisonments, and tortures, and escapes, which were stern and quite prosaic realities to all concerned in them; have become to us material for romantic tales – material which, when woven into Ivanhoes and Marmions, serves for amusement in leisure hours, and becomes poetical by contrast with our daily lives.

Thus, also, is it with extinct creeds. Stonehenge, which in the hands of the Druids had a governmental influence over men, is in our day a place for antiquarian excursions; and its attendant priests are worked up into an opera. Greek sculptures, preserved for their beauty in our galleries of art, and copied for the decoration of pleasure grounds and entrance halls, once lived in men’s minds as gods demanding obedience; as did also the grotesque idols that now amuse the visitors to our museums.

Equally marked is this change of function in the case of minor superstitions. The fairy lore, which in past times was matter of grave belief, and held sway over people’s conduct, have since been transformed into ornament for A Midsummer Night’s Dream , The Tempest , The Fairy Queen, and endless small tales and poems; and still affords subjects for children’s story-books, themes for ballets, and plots for Planché’s burlesques. Gnomes, and genii, and afrits, losing their terrors, give piquancy to the woodcuts in our illustrated edition of the Arabian Nights. While ghost-stories, and tales of magic and witchcraft, after serving to amuse boys and girls in their leisure hours, become matter for jocose allusions that enliven tea-table conversation.

Even our serious literature and our speeches are relieved by ornaments drawn from such sources. A Greek myth is often used as a parallel by which to vary the monotony of some grave argument. The lecturer breaks the dead level of his practical discourse by illustrations drawn from bygone customs, events, or beliefs. And metaphors, similarly derived, give brilliancy to political orations, and to Times leading articles.

Indeed, on careful inquiry, I think it will be found that we turn to purposes of beauty most byegone phenomena which are at all conspicuous. The busts of great men in our libraries, and their tombs in our churches; the once useful but now purely ornamental heraldic symbols; the monks, nuns, and convents, which give interest to a certain class of novels; the bronze mediæval soldiers used for embellishing drawing-rooms; the gilt Apollos which recline on time-pieces; the narratives that serve as plots for our great dramas; and the events that afford subjects for historical pictures; – these and such like illustrations of the metamorphosis of the useful into the beautiful, are so numerous as to suggest that, did we search diligently enough, we should find that in some place, or under some circumstance, nearly every notable product of the past has assumed a decorative character.

And here the mention of historical pictures reminds me that an inference may be drawn from all this, bearing directly on the practice of art. It has of late years been a frequent criticism upon our historical painters, that they err in choosing their subjects from the past; and that, would they found a genuine and vital school, they must render on canvas the life and deeds and aims of our own time. If, however, there be any significance in the foregoing facts, it seems doubtful whether this criticism is a just one. For if it be the course of things that what has performed some active function in society during one era, becomes available for ornament in a subsequent one; it almost follows that, conversely, whatever is performing some active function now, or has very recently performed one, does not possess the ornamental character; and is, consequently, inapplicable to any purpose of which beauty is the aim, or of which it is a needful ingredient.

Still more reasonable will this conclusion appear, when we consider the nature of this process by which the useful is changed into the ornamental. An essential pre-requisite to all beauty is contrast. To obtain artistic effect, light must be put in juxtaposition with shade, bright colours with dull colours, a fretted surface with a plain one. Forte passages in music must have piano passages to relieve them; concerted pieces need interspersing with solos; and rich chords must not be continuously repeated. In the drama we demand contrast of characters, of scenes, of sentiment, of style. In prose composition an eloquent passage should have a comparatively plain setting; and in poems great effect is obtained by occasional change of versification. This general principle will, I think, explain the transformation of the bygone useful into the present beautiful. It is by virtue of their contrast with our present modes of life, that past modes of life look interesting and romantic. Just as a picnic, which is a temporary return to an aboriginal condition, derives, from its unfamiliarity, a certain poetry which it would not have were it habitual; so, everything ancient gains, from its relative novelty to us, an element of interest. Gradually as, by the growth of society, we leave behind the customs, manners, arrangements, and all the products, material and mental, of a bygone age – gradually as we recede from these so far that there arises a conspicuous difference between them and those we are familiar with; so gradually do they begin to assume to us a poetical aspect, and become applicable for ornament. And hence it follows that things and events which are close to us, and which are accompanied by associations of ideas not markedly contrasted with our ordinary associations, are relatively inappropriate for purposes of art. I say relatively because an incident of modern life or even of daily life may acquire adequate fitness for art purposes by an unusualness of some other kind than that due to unlikeness between past and present.

THE SOURCES OF ARCHITECTURAL TYPES

[ First published in The Leader for October 23, 1852.]

When lately looking through the gallery of the Old Water-Colour Society, I was struck with the incongruity produced by putting regular architecture into irregular scenery. In one case, where the artist had introduced a symmetrical Grecian edifice into a mountainous and wild landscape, the discordant effect was particularly marked. “How very unpicturesque,” said a lady to her friend, as they passed; showing that I was not alone in my opinion. Her phrase, however, set me speculating. Why unpicturesque? Picturesque means, like a picture – like what men choose for pictures. Why then should this be not fit for a picture?

Thinking the matter over, it seemed to me that the artist had sinned against that harmony of sentiment which is essential to a good picture. When the other constituents of a landscape have irregular forms, any artificial structure introduced should have an irregular form, that it may seem part of the landscape. The same general character must pervade it and the surrounding objects; otherwise it, and the scene amid which it stands, become not one thing but two things; and we say that it looks out of place. Or, speaking psychologically, the associated ideas called up by a building with its wings, windows, columns, and all its parts symmetrically disposed, differ widely from the ideas associated with an unsymmetrical landscape; and the one set of ideas tends to banish the other.

Pursuing the train of thought, sundry illustrative facts came to mind. I remembered that a castle, which is usually more irregular in outline than any other kind of building, pleases us most when seated amid crags and precipices; while a castle on a plain seems incongruous. The partly-regular and partly-irregular forms of our old farm-houses, and our gabled gothic manors and abbeys, appear quite in harmony with an undulating, wooded country. In towns we prefer symmetrical architecture; and in towns it produces in us no feeling of incongruity, because all surrounding things – men, horses, vehicles – are symmetrical also.

And here I was reminded of a notion that has frequently recurred to me; namely, that there is some relationship between the several kinds of architecture and the several classes of natural objects. Buildings in the Greek and Roman styles seem, in virtue of their symmetry, to take their type from animal life. In the partially-irregular Gothic, ideas derived from the vegetable world appear to predominate. And wholly irregular buildings, such as castles, may be considered as having inorganic forms for their basis.

Whimsical as this speculation looks at first sight, it is countenanced by numerous facts. The connexion between symmetrical architecture and animal forms, may be inferred from the kind of symmetry we expect, and are satisfied with, in regular buildings. In a Greek temple we require that the front shall be symmetrical in itself, and that the two flanks shall be alike; but we do not look for uniformity between the flanks and the front, nor between the front and the back. The identity of this symmetry with that found in animals is obvious. Again, why is it that a building making any pretensions to symmetry displeases us if not quite symmetrical? Probably the reply will be – Because we see that the designer’s idea is not fully carried out; and that hence our love of completeness is offended. But then there come the further questions – How do we know that the architect’s conception was symmetrical? Whence comes this notion of symmetry which we have, and which we attribute to him? Unless we fall back upon the old doctrine of innate ideas, we must admit that the idea of bi-lateral symmetry is derived from without; and to admit this is to admit that it is derived from the higher animals.

That there is some relationship between Gothic architecture and vegetal forms is generally admitted. The often-remarked similarity between a groined nave and an avenue of trees with interlacing branches, shows that the fact has forced itself on observation. It is not only in this, however, that the kinship is seen. It is seen still better in the essential characteristic of Gothic; namely, what is termed its aspiring tendency. That predominance of vertical lines which so strongly distinguishes Gothic from other styles, is the most marked peculiarity of trees, when compared with animals or rocks. A tall Gothic tower, with its elongated apertures and clusters of thin projections running from bottom to top, suggests a vague idea of growth.

Of the alleged connexion between inorganic forms and the wholly irregular and the castellated styles of building, we have, I think, some proof in the fact that when an edifice is irregular, the more irregular it is the more it pleases us. I see no way of accounting for this fact, save by supposing that the greater the irregularity the more strongly are we reminded of the inorganic forms typified, and the more vividly are aroused the agreeable ideas of rugged and romantic scenery associated with those forms.

Further evidence of these relationships of styles of architecture to classes of natural objects, is supplied by the kinds of decoration they respectively present. The public buildings of Greece, while characterized in their outlines by the bi-lateral symmetry seen in the higher animals, have their pediments and entablatures covered with sculptured men and beasts. Egyptian temples and Assyrian palaces, similarly symmetrical in their general plan, are similarly ornamented on their walls and at their doors. In Gothic, again, with its grove-like ranges of clustered columns, we find rich foliated ornaments abundantly employed. And accompanying the totally irregular, inorganic outlines of old castles, we see neither vegetal nor animal decorations. The bare, rock-like walls are surmounted by battlements, consisting of almost plain blocks, which remind us of the projections on the edge of a rugged cliff.

But perhaps the most significant fact is the harmony observable between each type of architecture and the scenes in which it is indigenous. For what is the explanation of this harmony, unless it be that the predominant character of surrounding things has, in some way, determined the mode of building adopted?

That the harmony exists is clear. Equally in the cases of Egypt, Assyria, Greece, and Rome, town life preceded the construction of the symmetrical buildings that have come down to us. And town life is one in which, as already observed, the majority of familiar objects are symmetrical. We habitually feel the naturalness of this association. Amid the fields, a formal house, with a central door flanked by equal numbers of windows to right and left, strikes us as unrural – looks as though transplanted from a street; and we cannot look at one of those stuccoed villas, with mock-windows arranged to balance the real ones, without being reminded of the suburban residence of a retired tradesman.

In styles indigenous in the country, we not only find the general irregularity characteristic of surrounding things, but we may trace some kinship between each kind of irregularity and the local circumstances. We see the broken rocky masses amid which castles are often placed, mirrored in their stern, inorganic forms. In abbeys, and such-like buildings, which are commonly found in sheltered districts, we find no such violent dislocations of masses and outlines; and the nakedness appropriate to the fortress is replaced by decorations reflecting the neighbouring woods. Between a Swiss cottage and a Swiss view there is an evident relationship. The angular roof, so bold and so disproportionately large when compared to other roofs, reminds one of the adjacent mountain peaks; and the broad overhanging eaves have a sweep and inclination like those of the lower branches of a pine tree. Consider, too, the apparent kinship between the flat roofs that prevail in Eastern cities, interspersed with occasional minarets, and the plains that commonly surround them, dotted here and there by palm trees. Contemplate a picture of one of these places, and you are struck by the predominance of horizontal lines, and their harmony with the wide stretch of the landscape.

That the congruity here pointed out should hold in every case must not be expected. The Pyramids, for example, do not seem to come under this generalization. Their repeated horizontal lines do indeed conform to the flatness of the neighbouring desert; but their general contour seems to have no adjacent analogue. Considering, however, that migrating races, carrying their architectural systems with them, would naturally produce buildings having no relationship to their new localities; and that it is not always possible to distinguish styles which are indigenous, from those which are naturalized; numerous anomalies must be looked for.

The general idea above illustrated will perhaps be somewhat misinterpreted. Possibly some will take the proposition to be that men intentionally gave to their buildings the leading characteristics of neighbouring objects. But this is not what is meant. I do not suppose that they did so in times past, any more than they do so now. The hypothesis is, that in their choice of forms men are unconsciously influenced by the forms encircling them. That flat-roofed, symmetrical architecture should have originated in the East, among pastoral tribes surrounded by their herds and by wide plains, seems to imply that the builders were swayed by the horizontality and symmetry to which they were habituated. And the harmony which we have found to exist in other cases between indigenous styles and their localities, implies the general action of like influences. Indeed, on considering the matter psychologically, I do not see how it could well be otherwise. For as all conceptions must be made up of images, and parts of images, received through the senses; and as imagination will most readily run in the direction of habitual perceptions; it follows that the characteristic which predominates in habitual perceptions must impress itself on designs.

GRACEFULNESS

[ First published in The Leader for December 25, 1852.]