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186 THIRD PERIOD.
of realization is often allowed, for the sake of color, than would
be right without it. For there is not any distinction between
the artists of the inferior and the nobler schools more definite
than this ; that the first color for the sake of realization, and
the second realize for the sake of color. I hope that, in the
fifth chapter, enough has been said to show the nobility of
color, though it is a subject on which I would fain enlarge
whenever I approach it: for there is none that needs more to
be insisted upon, chiefly on account of the opposition of the
persons who have no eye for color, and who, being therefore
unable to understand that it is just as divine and distinct in its
power as music (only infinitely more varied in its harmonies),
talk of it as if it" were inferior and servile with respect to the
other powers of art; * whereas it is so far from being this, that
wherever it enters it must take the mastery, and, whatever else
is sacrificed for its sake, it, at least, must be right. This is
partly the case even with music: it is at our choice, whether
we will accompany a poem with music, or not; but, if we do,
the music must be right, and neither discordant nor inexpressive. The goodness and sweetness of the poem cannot save it,
if the music be harsh or false; but, if the music be right, the
poem may be insipid or inharmonious, and still saved by the
notes to which it is wedded. But this is far more true of color.
If that be wrong, all is wrong. No amount of expression or
* Nothing is more wonderful to me than to hear the pleasure of the eye,
in color, spoken of with disdain as "sensual," while people exalt that of
the ear in music. Do they really suppose the eye is a less noble bodily
organ than the ear,—that the organ by which nearly all our knowledge of
the external universe is communicated to us, and through which we learn
the wonder and the love, can be less exalted in its own peculiar delight than
the ear, which is only for the communication of the ideas which owe to the
eye their very existence? I do not mean to depreciate music: let it be loved
and reverenced as is just; only let the delight of the eye be reverenced
more. The great power of music over the multitude is owing, not to its
being less but more sensual than color; it is so distinctly and so richly
sensual, that it can be idly enjoyed; it is exactly at the point where the
lower and higher pleasures of the senses and imagination are balanced; so
that pure and great minds love it for its invention and emotion, and lower
minds for its sensual power.
| Title | The stones of Venice - 3 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000204 |
| Type | Books/Pamphlets |
| Transcript | 186 THIRD PERIOD. of realization is often allowed, for the sake of color, than would be right without it. For there is not any distinction between the artists of the inferior and the nobler schools more definite than this ; that the first color for the sake of realization, and the second realize for the sake of color. I hope that, in the fifth chapter, enough has been said to show the nobility of color, though it is a subject on which I would fain enlarge whenever I approach it: for there is none that needs more to be insisted upon, chiefly on account of the opposition of the persons who have no eye for color, and who, being therefore unable to understand that it is just as divine and distinct in its power as music (only infinitely more varied in its harmonies), talk of it as if it" were inferior and servile with respect to the other powers of art; * whereas it is so far from being this, that wherever it enters it must take the mastery, and, whatever else is sacrificed for its sake, it, at least, must be right. This is partly the case even with music: it is at our choice, whether we will accompany a poem with music, or not; but, if we do, the music must be right, and neither discordant nor inexpressive. The goodness and sweetness of the poem cannot save it, if the music be harsh or false; but, if the music be right, the poem may be insipid or inharmonious, and still saved by the notes to which it is wedded. But this is far more true of color. If that be wrong, all is wrong. No amount of expression or * Nothing is more wonderful to me than to hear the pleasure of the eye, in color, spoken of with disdain as "sensual," while people exalt that of the ear in music. Do they really suppose the eye is a less noble bodily organ than the ear,—that the organ by which nearly all our knowledge of the external universe is communicated to us, and through which we learn the wonder and the love, can be less exalted in its own peculiar delight than the ear, which is only for the communication of the ideas which owe to the eye their very existence? I do not mean to depreciate music: let it be loved and reverenced as is just; only let the delight of the eye be reverenced more. The great power of music over the multitude is owing, not to its being less but more sensual than color; it is so distinctly and so richly sensual, that it can be idly enjoyed; it is exactly at the point where the lower and higher pleasures of the senses and imagination are balanced; so that pure and great minds love it for its invention and emotion, and lower minds for its sensual power. |
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