Since we have quoted Plato on love, why should we not quote him on “the beautiful,” since beauty causes love. It is curious to know how a Greek spoke of the beautiful more than two thousand years since.

“The man initiated into the sacred mysteries, when he sees a beautiful face accompanied by a divine form, a something more than mortal, feels a secret emotion, and I know not what respectful fear. He regards this figure as a divinity. . . . . When the influence of beauty enters into his soul by his eyes he burns; the wings of his soul are bedewed; they lose the hardness which retains their germs and liquefy themselves; these germs, swelling beneath the roots of its wings, they expand from every part of the soul (for soul had wings formerly),” etc.

I am willing to believe that nothing is finer than this discourse of the divine Plato; but it does not give us very clear ideas of the nature of the beautiful.

Ask a toad what is beauty — the great beauty To Kalon; he will answer that it is the female with two great round eyes coming out of her little head, her large flat mouth, her yellow belly, and brown back. Ask a negro of Guinea; beauty is to him a black, oily skin, sunken eyes, and a flat nose. Ask the devil; he will tell you that the beautiful consists in a pair of horns, four claws, and a tail. Then consult the philosophers; they will answer you with jargon; they must have something conformable to the archetype of the essence of the beautiful — to the To Kalon.

I was once attending a tragedy near a philosopher. “How beautiful that is,” said he. “What do you find beautiful?” asked I. “It is,” said he, “that the author has attained his object.” The next day he took his medicine, which did him some good. “It has attained its object,” cried I to him; “it is a beautiful medicine.” He comprehended that it could not be said that a medicine is beautiful, and that to apply to anything the epithet beautiful it must cause admiration and pleasure. He admitted that the tragedy had inspired him with these two sentiments, and that it was the To Kalon, the beautiful.

We made a journey to England. The same piece was played, and, although ably translated, it made all the spectators yawn. “Oh, oh!” said he, “the To Kalon is not the same with the English as with the French.” He concluded after many reflections that “the beautiful” is often merely relative, as that which is decent at Japan is indecent at Rome; and that which is the fashion at Paris is not so at Pekin; and he was thereby spared the trouble of composing a long treatise on the beautiful.

There are actions which the whole world considers fine. A challenge passed between two of C?sar’s officers, mortal enemies, not to shed each other’s blood behind a thicket by tierce and quarte, as among us, but to decide which of them would best defend the camp of the Romans, about to be attacked by the barbarians. One of the two, after having repulsed the enemy, was near falling; the other flew to his assistance, saved his life, and gained the victory.

A friend devotes himself to death for his friend, a son for his father. The Algonquin, the French, the Chinese, will mutually say that all this is very beautiful, that such actions give them pleasure, and that they admire them.

They will say the same of great moral maxims; of that of Zoroaster: “If in doubt that an action be just, desist;” of that of Confucius: “Forget injuries; never forge............