Beauty This page intentionally left blank Beauty ROGER SCRUTON 1 3 Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Horsell’s Farm Enterprises Limited The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Italy and acid-free paper by Lego S.p.A ISBN 978–0–19–955952–7 13579108642 CONTENTS Picture Acknowledgements vii Preface ix 1. Judging Beauty 1 2. Human Beauty 34 3. Natural Beauty 58 4. Everyday Beauty 80 5. Artistic Beauty 97 6. Taste and Order 133 7. Art and Ero¯s 148 8. The Flight from Beauty 167 9. Concluding Thoughts 195 Notes and Further Reading 199 Index 215 This page intentionally left blank PICTURE ACKNOWLEDGEMENTS 1 Baldassare Longhena, Sta Maria della Salute, Venice # Fratelli Alinari Museum of the History of Photography, Florence/Alinari Archives, Florence 2 Sir Christopher Wren, St Paul’s Cathedral viewed up Ludgate Hill # Peter Titmuss/Alamy 3 A humble but harmonious street: Barn Hill, Stamford # Robin Weaver/Collections 4 Simone Martini, Annunciation, 1333, Uffizi Gallery, florence # Alinari Archives, Florence/reproduced with the permission of Min- istero per i Beni e le Attivita` Culturali 5 Herefordshire hunting country # Alan Greeley/Collections 6 Alpine gorge # David Young/fotoLibra 7 Winding pathway at Little Sparta, garden of Ian Hamilton Findlay # Robin Gillanders 8 A door from a Georgian pattern-book from The Architect, or Practical House Carpenter, by Asher Benjamin, 1830 9 A table laid for guests # Michael Paul/StockFood/Getty Images 10 Palladian window # Oxford University Press 11 Ingmar Bergman, Wild Strawberries, 1957 # Svensk Filmindustri/ Album/akg-images vii Picture Acknowledgements 12 Vincent Van Gogh, Yellow Chair, 1888, National Gallery, London # 2006 TopFoto.co.uk 13 First statement of melody from Samuel Barber, Adagio for Strings, 1936 # 1939 (renewed) by G. Schirmer, Inc. (ASCAP). All rights reserved. International copyright secured. Used by Permission 14 James Abbott McNeill Whistler (attr.), Nocturne in Grey and Silver, the Thames # Art Gallery of New South Wales, Sydney/The Bridge- man Art Library 15 Michelangelo, Laurentian Library staircase # Alinari Archives, Florence 16 Titian, Venus of Urbino, 1538, Uffizi Gallery, Florence # Alinari Archives, Florence 17 Franc¸ois Boucher, The Triumph of Venus, 1740 # Nationalmuseum, Stockholm/The Bridgeman Art Library 18 Sandro Botticelli, The Birth of Venus, c. 1485, Uffizi Gallery, Flor- ence # Alinari Archives, Florence 19 Rembrandt Van Rijn, Susanna and the Elders, 1647 # Gema¨ldegal- erie, Berlin/The Bridgeman Art Library 20 Edward Manet, Olympia, 1863, Muse´e d’Orsay, Paris # Roger-Viol- let/TopFoto.co.uk 21 Franc¸ois Boucher, Blonde Odalisque, 1752, Alte Pinakothek, Mun- ich # bpk/Bayerische Staatsgema¨ldesammlungen 22 Francesco Guardi, Scene with Marine Landscape, Museum of Castel vecchio, Verona # Alinari Archives, Florence 23 Poussin, The Israelites Dancing Around the Golden Calf, National Gallery, London # 1999 TopFoto.co.uk 24 A serene temple Buddha: sacred art # ullstein bild/akg-images 25 Garden gnomes # iStockphoto 26 William Hogarth, title page from The Analysis of Beauty, 1753 # Trustees of the British Museum viii PREFACE Beauty can be consoling, disturbing, sacred, profane; it can be exhilarating, appealing, inspiring, chilling. It can affect us in an unlimited variety of ways. Yet it is never viewed with indifference: beauty demands to be noticed; it speaks to us directly like the voice of an intimate friend. If there are people who are indifferent to beauty, then it is surely because they do not perceive it. Yet judgements of beauty concern matters of taste, and maybe taste has no rational foundation. If so, how do we explain the exalted place of beauty in our lives, and why should we lament the fact—if fact it is—that beauty is vanish- ing from our world? And is it the case, as so many writers and artists since Baudelaire and Nietzsche have suggested, that beauty and goodness may diverge, so that a thing can be beautiful precisely in respect of its immorality? Moreover, since it is in the nature of tastes to differ, how can a standard erected by one person’s taste be used to cast judge- ment on another’s? How, for example, can we pretend that one type of music is superior or inferior to another when comparative judgements merely reflect the taste of the one who makes them? ix Preface That familiar relativism has led some people to dismiss judgements of beauty as purely ‘subjective’. No tastes can be criticized, they argue, since to criticize one taste is simply to give voice to another; hence there is nothing to learn or to teach that could conceivably deserve the name of ‘criticism’. This attitude has put in question many of the traditional disciplines in the humanities. The studies of art, music, litera- ture and architecture, freed from the discipline of aesthetic judgement, seem to lack the firm anchor in tradition and technique that enabled our predecessors to regard them as central to the curriculum. Hence the current ‘crisis in the humanities’: is there is any point in studying our artistic and cultural inheritance, when the judgement of its beauty has no rational grounds? Or if we do study it, should this not be in a sceptical spirit, by way of questioning its claims to objective authority, and deconstructing its posture of transcendence? When each year the Turner prize, founded in memory of England’s greatest painter, is awarded to yet another bundle of facetious ephemera, is this not proof that there are no stand- ards, that fashion alone dictates who will and who will not be rewarded, and that it is pointless to look for objective prin- ciples of taste or a public conception of the beautiful? Many people answer yes to those questions, and as a result renounce the attempt to criticize either the taste or the motives of the Turner-prize judges. In this book I suggest that such sceptical thoughts about beauty are unjustified. Beauty, I argue, is a real and universal value, one anchored in our rational nature, and the sense of beauty has an indispensable part to play in shaping the human world. My approach to the topic is not historical, x Preface neither am I concerned to give a psychological, still less an evolutionary, explanation of the sense of beauty. My approach is philosophical, and the principal sources for my argument are the works of philosophers. The point of this book is the argument that it develops, which is designed to introduce a philosophical question and to encourage you, the reader, to answer it. Some parts of this book started life elsewhere, and I am grateful to the editors of the British Journal of Aesthetics, the Times Literary Supplement, Philosophy and City Journal for per- mission to re-work material that has already appeared in their pages. I am also grateful to Christian Brugger, Malcolm Budd, Bob Grant, John Hyman, Anthony O’Hear and David Wig- gins, for helpful comments on previous drafts. They saved me from many errors, and I apologize for the errors that remain, which are all my fault. R.S. Sperryville, Virginia, May 2008. xi This page intentionally left blank 1 Judging Beauty We discern beauty in concrete objects and abstract ideas, in works of nature and works of art, in things, animals and people, in objects, qualities and actions. As the list expands to take in just about every ontological category (there are beautiful propositions as well as beautiful worlds, beautiful proofs as well as beautiful snails, even beautiful diseases and beautiful deaths), it becomes obvious that we are not describ- ing a property like shape, size or colour, uncontroversially present to all who can find their way around the physical world. For one thing: how could there be a single property exhibited by so many disparate types of thing? Well, why not? After all, we describe songs, landscapes, moods, scents and souls as blue: does this not illustrate the way in which a single property can occur under many cat- egories? No, is the answer. For while there is a sense in which all those things can be blue, they cannot be blue in the way that my coat is blue. In referring to so many types of thing as blue, we are using a metaphor—one that requires a leap of the imagination if it is to be rightly understood.