the same kind I found lately at a concert, where I went to hear Handel’s Messiah. As the master overpowered the littleness and incapableness of the performers and made them conductors of his electricity, so it was easy to observe what efforts nature was making, through so many hoarse, wooden, and imperfect persons, to produce beautiful voices, fluid and soul-guided men and women. The genius of nature was paramount at the oratorio.
This preference of the genius to the parts is the secret of that deification of art, which is found in all superior minds. Art, in the artist, is proportion, or a habitual respect to the whole by an eye loving beauty in details. And the wonder and charm of it is the sanity in insanity which it denotes. Proportion is almost impossible to human beings. There is no one who does not exaggerate. In conversation, men are encumbered with personality, and talk too much. In modern sculpture, picture, and poetry, the beauty is miscellaneous; the artist works here and there and at all points, adding and adding, instead of unfolding the unit of his thought. Beautiful details we must have, or no artist; but they must be means and never other. The eye must not lose sight for a moment of the purpose. Lively boys write to their ear and eye, and the cool reader finds nothing but sweet jingles in it. When they grow older, they respect the argument.
We obey the same intellectual integrity when we study in exceptions the law of the world. Anomalous facts, as the never quite obsolete rumors of magic and demonology, and the new allegations of phrenologists and neurologists, are of ideal use. They are good indications. Homoeopathy is insignificant as an art of healing, but of great value as criticism on the hygeia or medical practice of the time. So with Mesmerism, Swedenborgism, Fourierism, and the Millennial Church; they are poor pretensions enough, but good criticism on the science, philosophy, and preaching of the day. For these abnormal insights of the adepts ought to be normal, and things of course.