The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [3178]
Thus the several forms of Art have had their source and principle deep in man's religious nature: all have come into being as so many projections or outgrowths of man's religious life. And it may well be questioned whether, without the motives and inspirations of religion, the human soul ever was, or ever can be, strong and free enough to produce any shape of art. In, other words, it is only as the mind stands dressed in and for religion that the Creative Faculty of Art gets warmed and quickened into operation. So that religion is most truly the vivifying power of Art in all its forms; and all works of art that do not proceed from a religious life in the mind are but imitations, and can never be any thing more. Moreover the forms of Art have varied in mode, style, and character, according to the particular genius and spirit of the religion under which they grew. There is a most intimate correspondence between the two. This is manifestly true of the old Egyptian and Grecian art. And it is equally true of Christian art, save as this has been more or less modified by imitation of those earlier works, and in so far as this imitative process has got the better of original inspiration, the result has always been a falling from the right virtue of Art. For the Christian mind can never overtake the Greek mind in that style of Art which was original and proper to the latter. Nothing but the peculiar genius of the Greek mythology could ever freely and spontaneously organize or incarnate itself in a body of that shape. The genius of Christianity requires and naturally prompts a different body. Nor can the soul of the latter ever be made to take on the body of the former, but under the pressure of other than the innate and organic law of the thing. For every true original artist is much more possessed by the genius of his work than possessing it. Unless, indeed, a man be inspired by a power stronger than his individual understanding or any conscious purpose, his hand can never reach the cunning of any process truly creative. And so in all cases the temper and idiom of a people's religious culture will give soul and expression to their art; or, they have no religious culture, then there will not be soul-power enough in them to produce any art at all.
As I am on the subject of Art considered as the offspring of Religion or the religious Imagination, I am moved to add a brief episode in that direction. And I the rather do so, forasmuch as Artistic Beauty is commonly recognized as among the greatest educational forces now in operation in the Christian world. On this point a decided reaction has taken place within my remembrance. The agonistic or argumentative modes, which were for a long time in the ascendant, and which proceeded by a logical and theological presentation of Christian thought, seem to have spent themselves, insomuch as to be giving way to what may be called the poetical and imaginative forms of expression. It is not my purpose to discuss whether the change be right or for the better, but merely to note it as a fact; for such I think it clearly is. I presume it will be granted, also, that as a general thing we need to have our places of worship and our religious services made far more beautiful than they are; and that indeed we cannot have too much of beauty in them, so that beauty be duly steeped in the grace and truth of Christian inspiration. But Art has its dangers here as well as its uses: especially it is apt to degenerate from a discipline of religious virtue into a mere relaxation, losing the severity that elevates and purifies, in what is merely pretty or voluptuous or pleasing. It is therefore of the utmost consequence what style of beauty we cultivate, and how the tastes of people