The Continental Monthly, Vol. 4, No. 2, August, 1863: Devoted to Literature and National PolicyVarious
History
The Continental Monthly, Vol. 4, No. 2, August, 1863: Devoted to Literature and National Policy
Various
Literature, Modern -- 19th century -- Periodicals; United States -- Politics and government -- 19th century -- Periodicals
It is not mere unrelated variety which charms us, for a forest of all
manner of trees is poor in its effect, while a mass of one species of
trees is sublime;--the swan, with its purity of unbroken whiteness, is
one of the most beautiful of creatures. It is, indeed, only harmonious
and chordal variety, that variety which is necessary to secure and
extend unity (for the greater the number of objects which by their
differences become members of one another, the more extended and sublime
is their unity), which is essentially beautiful. _Variety_ is never so
conspicuous as when united with some intimation of _unity_. For example,
the perpetual change of clouds is monotonous in its very dissimilarity,
nor is difference ever striking where no connection is implied; but if
through a range of barred clouds crossing half the heavens, all governed
by the same forces, and falling into one general form, there be yet a
marked and evident dissimilarity between each member of the great
mass--one more finely drawn, the next more delicately moulded, the next
more gracefully bent--each broken into differently modelled and
variously numbered groups,--the _variety_ is doubly striking because
contrasted with the perfect _unity_ and _symmetry_ of which it forms a
part.
Now, of that which is thus necessary to the perfection of things, all
types and suggestions must be beautiful in whatever way they may suggest
or manifest it. To the perfection of beauty in lines, colors, forms,
masses, or multitudes, the appearance of unity is absolutely essential.
Let the artist look to it, that our pictures may gain expression; our
music cease to weary us through the unceasing dissimilarity of its
parts, highly adorned arabesques running into each other, graceful, but
without significance, without any perceptible principle of unity in the
jarring '_motifs_;' and our poems have some certain theme, that their
highly wrought details may not confuse and bewilder the spirit always in
search of some central unity. Like the burning sands which, clinging not
together in any sweet union of fellowship, blind and confuse us with
their drifting masses, are all such essays in art; for an idea capable
of quickening an artistic creation must be vitally One, and every great
work, notwithstanding its variety and the manifold complexity of its
parts, must form a Whole.
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