Romantic Love and Personal Beauty: Their development, causal relations, historic and national peculiaritiesFinck, Henry T.
Science
Romantic Love and Personal Beauty: Their development, causal relations, historic and national peculiarities
Finck, Henry T.
Beauty, Personal; Love
As regards Modern Genius, Bacon’s assertion is so far from the truth,
that it is quite safe to reverse it and say that it is doubtful whether
any one but a man of genius is capable of that intense ardour of feeling
which marks the climax of Love; doubtful whether even Romeo at his age
could have felt a passion such as Shakspere’s glowing imagination
painted. Love is based, not on what a man sees with his eyes, but on the
mental image retouched by the imagination; and a man of genius, being a
_virtuoso of the imagination_, can adorn his ideal of love with
ornaments unknown to ordinary mortals; whence it follows that the
passion inspired by his more vivid and beautiful image must be more
intense than the passion inspired by less perfect visions in common,
sluggish brains. And since artistic thought can no more crystallise into
verse or epigram without the warm glow of emotion than a flower can grow
into a thing of beauty without its daily bath of warm sunshine, it is
fortunate that Genius implies a natural susceptibility to the æsthetic
passion of Love.
Fortunate also for the prospects of Romantic Love is the fact that
Genius is king in its realms. Had not the sacred mysteries of Love been
revealed to the world in the glowing language of poetry, it would
probably have remained a thing unknown to ordinary mortals for centuries
to come; even as the beauties of Nature, for which common minds have no
eyes, would have remained undetected, had not the poets and artists
disclosed the bonds that connect them with human sympathies.
As all the quotations from poets given in this chapter (and in that on
Hyperbole) practically bear witness to the exceptional ardour of Love in
men of genius, only two cases need be cited as specimens—those of Burns
and Heine. Gilbert Burns, the brother of the poet, writes that the
latter “was constantly the victim of some fair enslaver. The symptoms of
his passion were often such as nearly to equal those of the celebrated
Sappho. I never, indeed, knew that he ‘fainted, sunk, and died away’;
but the agitations of his mind and body exceeded anything of the kind I
ever knew in real life.”
Public-domain text, read in full here on John Shaqi.
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