seven discourses on art(艺术七讲座)-第28节
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which our pleasures are conveyed to the mind。 We must take the same
care that the eye be not perplexed and distracted by a confusion of equal
parts； or equal lights； as of offending it by an unharmonious mixture of
colours。 We may venture to be more confident of the truth of this
observation； since we find that Shakespeare； on a parallel occasion； has
made Hamlet recommend to the players a precept of the same kind； never
to offend the ear by harsh sounds：… 〃In the very torrent； tempest； and
whirlwind of your passions；〃 says he； 〃you must beget a temperance that
may give it smoothness。〃 And yet； at the same time； he very justly
observes； 〃The end of playing； both at the first and now； is to hold； as it
were； the mirror up to nature。〃 No one can deny but that violent passions
will naturally emit harsh and disagreeable tones； yet this great poet and
critic thought that this imitation of nature would cost too much； if
purchased at the expense of disagreeable sensations； or； as he expresses it；
of 〃splitting the ear。〃 The poet and actor； as well as the painter of genius
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who is well acquainted with all the variety and sources of pleasure in the
mind and imagination； has little regard or attention to common nature； or
creeping after common sense。 By overleaping those narrow bounds； he
more effectually seizes the whole mind； and more powerfully
accomplishes his purpose。 This success is ignorantly imagined to
proceed from inattention to all rules； and in defiance of reason and
judgment； whereas it is in truth acting according to the best rules； and the
justest reason。
He who thinks nature； in the narrow sense of the word； is alone to be
followed； will produce but a scanty entertainment for the imagination：
everything is to be done with which it is natural for the mind to be pleased；
whether it proceeds from simplicity or variety； uniformity or irregularity：
whether the scenes are familiar or exotic； rude and wild； or enriched and
cultivated； for it is natural for the mind to be pleased with all these in their
turn。 In short； whatever pleases has in it what is analogous to the mind；
and is therefore； in the highest and best sense of the word； natural。
It is this sense of nature or truth which ought more particularly to be
cultivated by the professors of art； and it may be observed that many wise
and learned men； who have accustomed their minds to admit nothing for
truth but what can be proved by mathematical demonstration； have seldom
any relish for those arts which address themselves to the fancy； the
rectitude and truth of which is known by another kind of proof： and we
may add that the acquisition of this knowledge requires as much
circumspection and sagacity； as to attain those truths which are more open
to demonstration。 Reason must ultimately determine our choice on every
occasion； but this reason may still be exerted ineffectually by applying to
taste principles which； though right as far as they go； yet do not reach the
object。 No man； for instance； can deny that it seems at first view very
reasonable； that a statue which is to carry down to posterity the
resemblance of an individual should be dressed in the fashion of the times；
in the dress which he himself wore： this would certainly be true if the
dress were part of the man。 But after a time the dress is only an
amusement for an antiquarian； and if it obstructs the general design of the
piece； it is to be disregarded by the artist。 Common sense must here give
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way to a higher sense。
In the naked form； and in the disposition of the drapery； the difference
between one artist and another is principally seen。 But if he is compelled
to the modern dress； the naked form is entirely hid； and the drapery is
already disposed by the skill of the tailor。 Were a Phidias to obey such
absurd commands； he would please no more than an ordinary sculptor；
since； in the inferior parts of every art； the learned and the ignorant are
nearly upon a level。
These were probably among the reasons that induced the sculptor of
that wonderful figure of Laocoon to exhibit him naked； notwithstanding he
was surprised in the act of sacrificing to Apollo； and consequently ought to
be shown in his sacerdotal habits； if those greater reasons had not
preponderated。 Art is not yet in so high estimation with us as to obtain so
great a sacrifice as the ancients made； especially the Grecians； who
suffered themselves to be represented naked； whether they were generals；
lawgivers； or kings。
Under this head of balancing and choosing the greater reason； or of
two evils taking the least； we may consider the conduct of Rubens in the
Luxembourg gallery； of mixing allegorical figures with representations of
real personages； which； though acknowledged to be a fault； yet； if the artist
considered himself as engaged to furnish this gallery with a rich and
splendid ornament； this could not be done； at least in an equal degree；
without peopling the air and water with these allegorical figures： he
therefore accomplished that he purposes。 In this case all lesser
considerations； which tend to obstruct the great end of the work； must
yield and give way。
If it is objected that Rubens judged ill at first in thinking it necessary
to make his work so very ornamental； this brings the question upon new
ground。 It was his peculiar style； he could paint in no other； and he was
selected for that work； probably； because it was his style。 Nobody will
dispute but some of the best of the Roman or Bolognian schools would
have produced a more learned and more noble work。
This leads us to another important province of taste； of weighing the
value of the different classes of the art； and of estimating them
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accordingly。
All arts have means within them of applying themselves with success
both to the intellectual and sensitive part of our natures。 It can be no
dispute； supposing both these means put in practice with equal abilities； to
which we ought to give the preference： to him who represents the heroic
arts and more dignified passions of man； or to him who； by the help of
meretricious ornaments； however elegant and graceful； captivates the
sensuality； as it may be called； of our taste。 Thus the Roman and
Bolognian schools are reasonably preferred to the Venetian； Flemish； or
Dutch schools； as they address themselves to our best and noblest
faculties。
Well…turned periods in eloquence； or harmony of numbers in poetry；
which are in those arts what colouring is in painting； however highly we
may esteem them； can never be considered as of equal importance with the
art of unfolding truths that are useful to mankind； and which make us
better or wiser。 Nor can those works which remind us of the poverty and
meanness of our nature； be considered as of equal rank with what excites
ideas of grandeur； or raises and dignifies humanity； or； in the words of a
late poet； which makes the beholder learn to venerate himself as man。
It is reason and good sense therefore which ranks and estimates every
art； and every part of that art； according to its importance； from the painter
of animated down to inanimated nature。 We will not allow a man； who
shall prefer the inferior style； to say it is his taste； taste here has nothing；
or at least ought to have nothing to do with the question。 He wants not
taste； but sense； and soundness of
