wd altogether.
Mephistopheles in vain calls to them--"What do you duck and shrink
for--is that proper hellish behaviour? Stand fast, and let them
strew"--"Was duckt und zuckt ihr; ist das Hellen-brauch? So haltet
stand, und lasst sie streuen." There you have, also, the extreme of bad
taste in sight and smell. And in the whole passage is a brief embodiment
for you of the ultimate fact that all aesthetics depend on the health of
soul and body, and the proper exercise of both, not only through years,
but generations. Only by harmony of both collateral and successive
lives can the great doctrine of the Muses be received which enables men
"[Greek: chairein orthos]," "to have pleasures rightly;" and there is no
other definition of the beautiful, nor of any subject of delight to the
aesthetic faculty, than that it is what one noble spirit has created,
seen and felt by another of similar or equal nobility. So much as there
is in you of ox, or of swine, perceives no beauty, and creates none:
what is human in you, in exact proportion to the perfectness of its
humanity, can create it, and receive.

13. Returning now to the very elementary form in which the appeal to our
aesthetic virtue is made in our breakfast-plate, you notice that there
are two distinct kinds of pleasantness attempted. One by hues of colour;
the other by proportions of space. I have called these the musical
elements of the arts relating to sight; and there are indeed two
complete sciences, one of the combinations of colour, and the other of
the combinations of line and form, which might each of them separately
engage us in as intricate study as that of the science of music. But of
the two, the science of colour is, in the Greek sense, the more musical,
being one of the divisions of the Apolline power; and it is so
practically educational, that if we are not using the faculty for colour
to discipline nations, they will infallibly use it themselves as a means
of corruption. Both music and colour are naturally influences of peace;
but in the war trumpet, and the war shield, in the battle song and
battle standard, they have concentrated by beautiful imagination the
cruel passions of men; and there is nothing in all the Divina Commedia
of history more grotesque, yet more frightful, than the fact that, from
the almost fabulous period when the insanity and impiety of war wrote
themselves in the symbols of the shields of the Seven against Thebes,
colours have been the