seven discourses on art(艺术七讲座)-第30节
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senses； it follows that their rules and principles must have as great affinity
as the different materials and the different organs or vehicles by which
they pass to the mind will permit them to retain。
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We may therefore conclude that the real substance； as it may be called；
of what goes under the name of taste； is fixed and established in the nature
of things； that there are certain and regular causes by which the
imagination and passions of men are affected； and that the knowledge of
these causes is acquired by a laborious and diligent investigation of nature；
and by the same slow progress as wisdom or knowledge of every kind；
however instantaneous its operations may appear when thus acquired。
It has been often observed that the good and virtuous man alone can
acquire this true or just relish； even of works of art。 This opinion will not
appear entirely without foundation when we consider that the same habit
of mind which is acquired by our search after truth in the more serious
duties of life； is only transferred to the pursuit of lighter amusements： the
same disposition； the same desire to find something steady； substantial；
and durable； on which the mind can lean； as it were； and rest with safety。
The subject only is changed。 We pursue the same method in our search
after the idea of beauty and perfection in each； of virtue； by looking
forwards beyond ourselves to society； and to the whole； of arts； by
extending our views in the same manner to all ages and all times。
Every art； like our own； has in its composition fluctuating as well as
fixed principles。 It is an attentive inquiry into their difference that will
enable us to determine how far we are influenced by custom and habit； and
what is fixed in the nature of things。
To distinguish how much has solid foundation； we may have recourse
to the same proof by which some hold wit ought to be triedwhether it
preserves itself when translated。 That wit is false which can subsist only
in one language； and that picture which pleases only one age or one nation；
owes its reception to some local or accidental association of ideas。
We may apply this to every custom and habit of life。 Thus the
general principles of urbanity； politeness； or civility； have been ever the
same in all nations； but the mode in which they are dressed is continually
varying。 The general idea of showing respect is by making yourself less：
but the manner； whether by bowing the body； kneeling； prostration； pulling
off the upper part of our dress； or taking away the lower； is a matter of
habit。 It would be unjust to conclude that all ornaments； because they
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were at first arbitrarily contrived； are therefore undeserving of our
attention； on the contrary； he who neglects the cultivation of those
ornaments； acts contrarily to nature and reason。 As life would be
imperfect without its highest ornaments； the arts； so these arts themselves
would be imperfect without THEIR ornaments。
Though we by no means ought to rank these with positive and
substantial beauties； yet it must be allowed that a knowledge of both is
essentially requisite towards forming a complete； whole； and perfect taste。
It is in reality from the ornaments that arts receive their peculiar character
and complexion； we may add that in them we find the characteristical
mark of a national taste； as by throwing up a feather in the air we know
which way the wind blows； better than by a more heavy matter。
The striking distinction between the works of the Roman； Bolognian；
and Venetian schools； consists more in that general effect which is
produced by colours than in the more profound excellences of the art； at
least it is from thence that each is distinguished and known at first sight。
As it is the ornaments rather than the proportions of architecture which at
the first glance distinguish the different orders from each other； the Doric
is known by its triglyphs； the Ionic by its volutes； and the Corinthian by its
acanthus。
What distinguishes oratory from a cold narration； is a more liberal
though chaste use of these ornaments which go under the name of
figurative and metaphorical expressions； and poetry distinguishes itself
from oratory by words and expressions still more ardent and glowing。
What separates and distinguishes poetry is more particularly the ornament
of VERSE； it is this which gives it its character； and is an essential；
without which it cannot exist。 Custom has appropriated different metre to
different kinds of composition； in which the world is not perfectly agreed。
In England the dispute is not yet settled which is to be preferred； rhyme or
blank verse。 But however we disagree about what these metrical
ornaments shall be； that some metre is essentially necessary is universally
acknowledged。
In poetry or eloquence； to determine how far figurative or
metaphorical language may proceed； and when it begins to be affectation
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or beside the truth； must be determined by taste； though this taste we must
never forget is regulated and formed by the presiding feelings of mankind；
by those works which have approved themselves to all times and all
persons。
Thus； though eloquence has undoubtedly an essential and intrinsic
excellence； and immovable principles common to all languages； founded
in the nature of our passions and affections； yet it has its ornaments and
modes of address which are merely arbitrary。 What is approved in the
Eastern nations as grand and majestic； would be considered by the Greeks
and Romans as turgid and inflated； and they； in return； would be thought
by the Orientals to express themselves in a cold and insipid manner。
We may add likewise to the credit of ornaments； that it is by their
means that art itself accomplishes its purpose。 Fresnoy calls colouring；
which is one of the chief ornaments of painting； lena sororis； that which
procures lovers and admirers to the more valuable excellences of the art。
It appears to be the same right turn of mind which enables a man to
acquire the TRUTH； or the just idea of what is right in the ornaments； as
in the more stable principles of art。 It has still the same centre of
perfection； though it is the centre of a smaller circle。
To illustrate this by the fashion of dress； in which there is allowed to
be a good or； bad taste。 The component parts of dress are continually
changing from great to little； from short to long； but the general form still
remains； it is still the same general dress which is comparatively fixed；
though on a very slender foundation； but it is on this which fashion must
rest。 He who invents with the most success； or dresses in； the best taste；
would probably； from the same sagacity employed to greater purposes；
have discovered equal skill； or have formed the same correct taste in the
highest labours of art。
I have mentioned taste in dress； which is certainly one of the lowest
subjects to which this word is applied； yet； as I have before observed；
there is a right even here； however narrow its foundation respecting the
fashion of any particular nation。 But we have still more slender means of
determining； in regard to the different customs of different ages or
countries； to which to give the preference； since they seem to be all
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equally removed from nature。
If an Euro
