Ralph Waldo Emerson: Essays, First Series

5. LOVE. (continued)

The ancients called beauty the flowering of virtue. Who can analyze the nameless charm which glances from one and another face and form? We are touched with emotions of tenderness and complacency, but we cannot find whereat this dainty emotion, this wandering gleam, points. It is destroyed for the imagination by any attempt to refer it to organization. Nor does it point to any relations of friendship or love known and described in society, but, as it seems to me, to a quite other and unattainable sphere, to relations of transcendent delicacy and sweetness, to what roses and violets hint and foreshow. We cannot approach beauty. Its nature is like opaline doves'-neck lustres, hovering and evanescent. Herein it resembles the most excellent things, which all have this rainbow character, defying all attempts at appropriation and use. What else did Jean Paul Richter signify, when he said to music, "Away! away! thou speakest to me of things which in all my endless life I have not found, and shall not find." The same fluency may be observed in every work of the plastic arts. The statue is then beautiful when it begins to be incomprehensible, when it is passing out of criticism and can no longer be defined by compass and measuring-wand, but demands an active imagination to go with it and to say what it is in the act of doing. The god or hero of the sculptor is always represented in a transition from that which is representable to the senses, to that which is not. Then first it ceases to be a stone. The same remark holds of painting. And of poetry the success is not attained when it lulls and satisfies, but when it astonishes and fires us with new endeavors after the unattainable. Concerning it Landor inquires "whether it is not to be referred to some purer state of sensation and existence."

In like manner, personal beauty is then first charming and itself when it dissatisfies us with any end; when it becomes a story without an end; when it suggests gleams and visions and not earthly satisfactions; when it makes the beholder feel his unworthiness; when he cannot feel his right to it, though he were Caesar; he cannot feel more right to it than to the firmament and the splendors of a sunset.

Hence arose the saying, "If I love you, what is that to you?" We say so because we feel that what we love is not in your will, but above it. It is not you, but your radiance. It is that which you know not in yourself and can never know.