LITMIR.BIZ

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beautiful, the defects of the human race are more accentuated in the woman, where the twofold projection of the belly and the buttocks—sexual attractions, no doubt—breaks unpleasantly the double line of the silhouette. The curve of the breasts is almost inflected under the influence of the back, which has a hollow tendency. Cranach's nudes confess naïvely these eternal imperfections of woman. Another defect which artists, when they have taste, remedy instinctively, is the shortness of the legs, so marked in the photographs of nude women. This cold anatomy of feminine beauty has often been made. It is, then, useless to insist upon it—all the more because, unfortunately, its verification is only too easy. But if woman's beauty be so vulnerable to criticism, how does it happen that, in spite of all, it remains indisputable—that it has become for us the very basis and leaven of the idea of beauty? It is a sexual illusion. The idea of beauty is not a pure idea. It is intimately connected with the idea of carnal pleasure. Stendhal had an obscure perception of this line of reasoning when he defined beauty as "a promise of happiness." Beauty is a woman, even for women themselves, who have carried docility with regard to men to the point of adopting this aphorism which they are capable of understanding only under the form of extreme sensual perversion. We know, however, that women have a particular type of beauty, which men have naturally branded "doll-like." If women were sincere, they would long ago have stigmatized equally the type of feminine beauty by which man most readily lets himself be seduced.

      This identification of woman and beauty goes so far to-day that we have had innocently proposed us the "apotheosis of woman," meaning the glorification of beauty, with all the promises contained in Stendhal's definition taken in its erotic sense. Beauty is a woman and woman is a beauty. The caricaturists accentuate the common sentiment by invariably coupling with a woman, whom they strive to render beautiful, a man whose ugliness they stress to the extreme of vulgarity; and this in spite of the fact that pretty women are so rare in life, that after thirty a woman is almost always inferior, age for age, in plastic beauty, to her husband or lover. It is true that this inferiority is no easier to demonstrate than it is to feel, and that reasoning remains ineffective, once the page is finished, for the reader as well as for the writer; and this is very fortunate.

      The idea of beauty has never been disassociated save by aestheticians. The common run of men accept Stendhal's definition, which amounts to saying that this idea does not exist—that it has been absolutely devoured by the idea of happiness—of sexual happiness, happiness given by a woman. That is why the cult of beauty is suspect for moralists who have analyzed the value of certain abstract words. They translate this one by the cult of the flesh, and they would be right, if that last expression did not imply a somewhat silly attack upon one of man's most natural tendencies. The necessary result has been that, in opposing such excessive apotheosis of woman, they have infringed upon the rights of art. Art being the expression of beauty, and it being possible to understand beauty only under the material aspects of the true idea which it contains, art has become almost uniquely feminine. Beauty is woman; and art, also, is woman. But the latter is less absolute. The notion of art is even fairly clear for artists and for the élite. The idea of art has been extremely well liberated. There is a pure art which is concerned exclusively with self-realization. No definition of it even should be given; for such a definition could not be made without connecting the idea of art with ideas which are foreign to it, and which would tend to obscure and sully it.

      Previous to this disassociation, which is recent, and whose origin is known, the idea of art was connected with diverse ideas which are normally foreign to it—ideas of morality, of utility, or education. Art was the edifying illustration introduced into religious or philosophical catechism. This was the conception of the last two centuries. We freed ourselves from that yoke. There are now those who would like to put it back upon our necks. The idea of art has again been sullied, this time with the idea of utility. Art is called social by modern preachers. It is also called democratic, both epithets being well chosen, if it was meant by them to imply complete negation of its principal function. Admitting art because it can improve individuals or the masses, is like admitting roses because an eye-wash can be extracted from them. It is confounding two series of notions which the well-regulated exercise of the intelligence places upon entirely different planes. The plastic arts have a language; but this language cannot be translated into words and phrases. The work of art says things which are addressed directly to the aesthetic sense, and to it alone. What it can add, in such a way as to be understood by our other, faculties, is not worth listening to. And yet it is this negligible element which interests the boosters of social art. They are the majority and, as we are governed by the law of numbers, their triumph seems assured. The idea of art will, perhaps, prove to have been disassociated for a few years only, and for a small group of intelligences.

      There are, then, a very large number of ideas that are never employed by men in their pure state, either because they have not yet been disassociated, or because this disassociation has been incapable of achieving stability. There are also a great many ideas which exist in the state of disassociation, or that can provisionally be considered so to exist, but which have a special affinity for other ideas with which they are most commonly encountered. There are still others which seem refractory to certain associations, whereas the facts to which they correspond are, in reality, extremely frequent. Here are a few examples of these affinities and of these repulsions, chosen in the profoundly interesting realm of commonplaces, or truths.

      Flags were originally religious tokens, like the oriflamme of Saint-Denis, and their symbolic utility has remained at least as great as their real usefulness. But how, outside of war, have they become symbols of the idea of country? This is easier to explain by the facts themselves than by abstract logic. To-day, in nearly all civilized countries, the idea of country and the idea of flag are invincibly associated. The two words are even interchangeable. But this is a question of symbolism quite as much as of association of ideas. Insistence upon it would lead us to the language of colours, counterpart of the language of flowers, but still more unstable and arbitrary. If it is amusing to note that the blue of the French flag is the consecrated colour of the Virgin and of the children of Mary, it is no less so to find that the pious purple of the robe of Saint-Denis has become a revolutionary symbol. Like the atoms of Epicurus, ideas cling together as best they may, through chance encounters, shocks and accidents.

      Certain associations, though very recent, have rapidly acquired a singular authority, like those of education and intelligence, of education and morality. But, at most, education may have something to say for one of the particular forms of memory, or for a literal knowledge of the commonplaces contained in the Decalogue. The absurdity of these forced relations appears very clearly in that which concerns woman. It seems clear that there is a certain sort of education—that which they receive to-day—which, far from stimulating their intelligence, tends rather to blunt it. Since they have been educated seriously, they no longer have the least influence either in politics or in literature. Compare, in this connection, our last thirty years with the last thirty years of the ancien régime. These two associations of ideas have, nevertheless, become veritable commonplaces—truths which it is as useless to expose as to combat. They take their place with all those which infest books and the degenerate lobes of man's brain—with old and venerable truths like: virtue-recompense, vice-punishment, God-goodness, crime-remorse, duty-happiness, authority-respect, unhappiness-punishment, future-progress, and thousands of others, some of which, though absurd, are useful to mankind.

      It would be equally possible to make a long catalogue of the ideas which men refuse to associate, while delighting in the most disconcerting débauches. We have given above the explanation of this stubborn attitude, namely, that their principal occupation is the pursuit of happiness, and that they are much more concerned with reasoning in accordance with their interests than with the rules of logic.

      Thence the universal aversion to connecting the idea of nothingness with the idea of death. Though the former is evidently contained in the latter, humanity insists upon considering them separately. It opposes their union with all its force, never tiring of driving between them a chimerical wedge upon which resound the hammer-blows of hope. This is the finest example of the illogical that we can offer ourselves for our diversion, and the best proof that, in the gravest matters, as in those of slightest concern, it is sentiment which always triumphs over reason.

      Is it a great thing to have

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