7: Realisation of Beauty - Page 2

colours, that
affects us with its stripes and feathers, nay, with its
disfigurements. But as our acquaintance ripens, the apparent
discords are resolved into modulations of rhythm. At first we
detach beauty from its surroundings, we hold it apart from the
rest, but at the end we realise its harmony with all. Then the
music of beauty has no more need of exciting us with loud noise;
it renounces violence, and appeals to our heart with the truth
that it is meekness inherits the earth.

In some stage of our growth, in some period of our history, we
try to set up a special cult of beauty, and pare it down to a
narrow circuit, so as to make it a matter of pride for a chosen
few. Then it breeds in its votaries affections and
exaggerations, as it did with the Brahmins in the time of the
decadence of Indian civilisation, when the perception of the
higher truth fell away and superstitions grew up unchecked.

In the history of aesthetics there also comes an age of
emancipation when the recognition of beauty in things great and
small become easy, and when we see it more in the unassuming
harmony of common objects than in things startling in their
singularity. So much so, that we have to go through the stages
of reaction when in the representation of beauty we try to avoid
everything that is obviously pleasing and that has been crowned
by the sanction of convention. We are then tempted in defiance
to exaggerate the commonness of commonplace things, thereby
making them aggressively uncommon. To restore harmony we create
the discords which are a feature of all reactions. We already
see in the present age the sign of this aesthetic reaction, which
proves that man has at last come to know that it is only the
narrowness of perception which sharply divides the field of his
aesthetic consciousness into ugliness and beauty. When he has the
power to see things detached from self-interest and from the
insistent claims of the lust of the senses, then alone can he
have the true vision of the beauty that is everywhere. Then only
can he see that what is unpleasant to us is not necessarily
unbeautiful, but has its beauty in truth.

When we say that beauty is everywhere we do not mean that the
word ugliness should be abolished from our language, just as it
would be absurd to say that there is no such thing as untruth.
Untruth there certainly is, not in the system of the universe,
but in our power of comprehension, as its negative element. In
the same manner there is ugliness in the distorted expression of
beauty in our life and in our art which comes from our imperfect
realisation of Truth. To a certain extent we can set our life
against the law of truth which is in us and which is in all, and
likewise