The Sense of Beauty: Being the Outlines of Aesthetic TheorySantayana, George
Philosophy
The Sense of Beauty: Being the Outlines of Aesthetic Theory
Santayana, George
Aesthetics
If this ideal had been reached, the instinct, like all those perfectly
adjusted, would tend to become unconscious; and we should miss
those secondary effects with which we are exclusively concerned
in aesthetics. For it is precisely from the waste, from the radiation
of the sexual passion, that I beauty borrows warmth. As a harp,
made to vibrate to the fingers, gives some music to every wind, so
the nature of man, necessarily susceptible to woman, becomes
simultaneously sensitive to other influences, and capable of
tenderness toward every object. The capacity to love gives our
contemplation that glow without which it might often fail to
manifest beauty; and the whole sentimental side of our aesthetic
sensibility -- without which it would be perceptive and
mathematical rather than aesthetic -- is due to our sexual
organization remotely stirred.
The attraction of sex could not become efficient unless the senses
were first attracted. The eye must be fascinated and the ear
charmed by the object which nature intends should be pursued.
Both sexes for this reason develope secondary sexual characteristics;
and the sexual emotions are simultaneously extended to various
secondary objects. The colour, the grace, the form, which
become the stimuli of sexual passion, and the guides of
sexual selection, acquire, before they can fulfil that office, a
certain intrinsic charm. This charm is not only present for reasons
which, in an admissible sense, we may call teleological, on account,
that is, of its past utility in reproduction, but its intensity and power
are due to the simultaneous stirring of profound sexual impulses.
Not, of course, that any specifically sexual ideas are connected
with these feelings: such ideas are absent in a modest and
inexperienced mind even in the obviously sexual passions of love
and jealousy.
These secondary objects of interest, which are some of the most
conspicuous elements of beauty, are to be called sexual for these
two reasons: because the contingencies of the sexual function hare
helped to establish them in our race, and because they owe their
fascination in a great measure to the participation of our sexual life
in the reaction which they cause.
If any one were desirous to produce a being with a great
susceptibility to beauty, he could not invent an instrument better
designed for that object than sex. Individuals that need not unite
for the birth and rearing of each generation, might retain a savage
independence. For them it would not be necessary that any vision
should fascinate, or that any languor should soften, the prying
cruelty of the eye. But sex endows the individual with a dumb and
powerful instinct, which carries his body and soul continually
towards another; makes it one of the dearest employments of his
life to select and pursue a companion, and joins to possession the
keenest pleasure, to rivalry the fiercest rage, and to solitude an
eternal melancholy.
Public-domain text, read in full here on John Shaqi.
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