The Atlantic Monthly

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The Atlantic Monthly , Volume 2, No. 14,?by Various

The Project Gutenberg EBook of The Atlantic Monthly , Volume 2, No. 14,
December 1858, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org
Title: The Atlantic Monthly , Volume 2, No. 14, December 1858
Author: Various
Release Date: May 2, 2007 [EBook #21273]
Language: English
Character set encoding: ISO-8859-1
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THE
ATLANTIC MONTHLY.
A MAGAZINE OF LITERATURE, ART, AND POLITICS.
VOL. II.--DECEMBER, 1858.--NO. XIV.

THE IDEAL TENDENCY.
We are all interested in Art; yet few of us have taken pains to justify the delight we feel in it. No philosophy can win us away from Shakspeare, Plato, Angelo, Beethoven, Goethe, Phidias,--from the masters of sculpture, painting, music, and metaphor. Their truth is larger than any other,--too large to be stated directly and lodged in systems, theories, definitions, or formulas. They suggest and assure to us what cannot be spoken. They communicate life, because they do not endeavor to measure life. Philosophy will present the definite; Art refers always to the vast,--to that which cannot be comprehended, but only enjoyed and adored. Art is the largest expression. It is not, like Science, a basket in which meat and drink may be carried, but a hand which points toward the sky. Our eyes follow its direction, and our souls follow our eyes. Man needs only to be shown an open space. He will rise into it with instant expansion. We are made partakers of that illimitable energy. Only poetry can give account of poetry, only Art can justify Art; and we cannot hope to speak finally of this elastic Truth, to draw a circle around that which is vital, because it has in it something of infinity,--but we may hope to remove a doubt growing out of the very largeness which exalts and refreshes us. Art is not practical. It offers no precept, but lies abroad like Nature, not to be grasped and exhausted. Neither is it anxious about its own reception, as though any man could long escape the benefit which it brings. Every principle of science, every deduction of philosophy, is a tool. Our very religion, as we dare to name it, is a key which opens the heavens to admit myself and family. Art offers only life; but perhaps that will appear worth taking without looking beyond. Can we look beyond? Life is an end in itself, and so better than any tool.
What is that which underlies all arts as their essence, the thing to be expressed and celebrated? What is poetry, the creation from which the artist is named? We shall answer boldly: it is no shaping of forms, but a making of man. Nature is a plenum, is finished, and the Divine account with her is closed; but man is only yet a chick in the egg. With him it is still the first day of creation, and he has not received the benediction of a completed work. And yet the completion is involved and promised in our daily experience. Man is a perpetual seeker. He sees always just before him his own power, which he must hasten to overtake. He weighs himself often in thought; yet it is not his present, but a presumptive value, of which he is taking account. We are continually entering into our future, and it is so near us, we are already in every hour so full of it, that we draw without fraud on the credit of to-morrow. The student who has bought his first law-book is already a great counsellor. With the Commentaries he carries home consideration and the judicial habit. Some wisdom he imbibes through his pores and those of the sheepskin cover. Now he is grave and prudent, a man of the world and of authority; but if he had chosen differently, and brought home the first book of Theology, his day would have been tinted with other colors. For every choice carries a future involved in itself, and we begin to taste that when we take our course toward it. The habit of leaning forward and living in advance of himself has made its mark upon every man. We look not at the history or performance of the stranger, but at his pretensions. These are written in his dress, his air and attitude, his tone and occupation. The past is already nothing, the present is sliding away; to know any man, we must keep our eyes