Works of Johann Wolfgang von Goethe
Page 319
753
If, however, a writer could use all these modes of description and expression with perfect command, and thus give forth the result of his observations on the phenomena of nature in a diversified language; if he could preserve himself from predilections, still embodying a lively meaning in as animated an expression, we might look for much instruction communicated in the most agreeable of forms.
754
Yet, how difficult it is to avoid substituting the sign for the thing; how difficult to keep the essential quality still living before us, and not to kill it with the word. With all this, we are exposed in modern times to a still greater danger by adopting expressions and terminologies from all branches of knowledge and science to embody our views of simple nature. Astronomy, cosmology, geology, natural history, nay religion and mysticism, are called in in aid; and how often do we not find a general idea and an elementary state rather hidden and obscured than elucidated and brought nearer to us by the employment of terms, the application of which is strictly specific and secondary. We are quite aware of the necessity which led to the introduction and general adoption of such a language, we also know that it has become in a certain sense indispensable; but it is only a moderate, unpretending recourse to it, with an internal conviction of its fitness, that can recommend it.
755
After all, the most desirable principle would be that writers should borrow the expressions employed to describe the details of a given province of investigation from ‘the province itself; treating the simplest phenomenon as an elementary formula, and deriving and developing the more complicated designations from this.
756
The necessity and suitableness of such a conventional language where the elementary sign expresses the appearance itself, has been duly appreciated by extending, for instance, the application of the term polarity, which is borrowed from the magnet to electricity, &c. The plus and minus which may be substituted for this, have found as suitable an application to many phenomena; even the musician, probably without troubling himself about these other departments, has been naturally led to express the leading difference in the modes of melody by major and minor.
757
For ourselves we have long wished to intro. duce the term polarity into the doctrine of colours; with what right and in what sense, the present work may show. Perhaps we may hereafter find room to connect the elementary phenomena together according to our mode, by a similar use of symbolical terms, terms which must at all times convey the directly corresponding idea; we shall thus render more explicit what has been here only alluded to generally, and perhaps too vaguely expressed.
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PART VI. EFFECT OF COLOUR WITH REFERENCE TO MORAL ASSOCIATIONS.
758
Since colour occupies so important a place in the series of elementary phenomena, filling as it does the limited circle assigned to it with fullest variety, we shall not be surprised to find that its effects are at all times decided and significant, and that they are immediately associated with the emotions of the mind. We shall not be surprised to find that these appearances presented singly, are specific, that in combination they may produce an harmonious, characteristic, often even an inharmonious effect on the eye, by means of which they act on the mind; producing this impression in their most general elementary character, without relation to the nature or form of the object on whose surface they are apparent. Hence, colour considered as an element of art, may be made subservient to the highest esthetical ends. — Note CC.
759
People experience a great delight in colour, generally. The eye requires it as much as it requires light. We have only to remember the refreshing sensation we experience, if on a cloudy day the sun illumines a single portion of the scene before us and displays its colours. That healing powers were ascribed to coloured gems, may have arisen from the experience of this indefinable pleasure.
760
The colours which we see on objects are not qualities entirely strange to the eye; the organ is not thus merely habituated to the impression; no, it is always predisposed to produce colour of itself, and experiences a sensation of delight if something analogous to its own nature is offered to it from without; if its susceptibility is distinctly determined towards a given state.
761
From some of our earlier observations we can conclude, that general impressions produced by single colours cannot be changed, that they act specifically, and mast produce definite, specific states in the living organ.
762
They likewise produce a corresponding influence on the mind. Experience teaches us that particular colours excite particular states of feeling. It is related of a witty Frenchman, “Il prétendoit que son ton de conversation avec Madame étoit change depuis qu’elle avoi change .en cramoisi le meuble de son cabinet qui étoit bleu.”
763
In order to experience these influences completely, the eye should be entirely surrounded with one colour; we should be in a room of one colour, or look through a coloured glass. We are then identified with the hue, it attunes the eye and mind in mere unison with itself.
764
The colours on the plus side are yellow, red- yellow (orange), yellow-red (minium, cinnabar). The feelings they excite are quick, lively, aspiring.
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Yellow.
765
This is the colour nearest the light. It appears on the slightest mitigation of light, whether by semi-transparent mediums or faint reflection from white surfaces. In prismatic experiments it extends itself alone and widely in the light space, and while the two poles remain separated from each ‘other, before it mixes with blue to produce green it is to be seen in its utmost purity and beauty. How the chemical yellow develops itself in and upon the white, has been circumstantially described in its proper place.
766
In its highest purity it always carries with it the nature of brightness, and has a serene, gay, softly exciting character.
767
In this state, applied to dress, hangings, carpeting, &c., it is agreeable. Gold in its perfectly unmixed state, especially when the effect of polish is superadded, gives us a new and high idea of this colour; in like manner, a strong yellow, as it appears on satin, has a magnificent and noble effect.
768
We find from experience, again, that yellow excites a warm and agreeable impression. Hence in painting it belongs to the illumined and emphatic side.
769
This impression of warmth may be experienced in a very lively manner if we look at a landscape through a yellow glass, particularly on a grey winter’s day. The eye is gladdened, the heart expanded and cheered, a glow seems at once to breathe towards us.
770
If, however, this colour in its pure and bright state is agreeable and gladdening, and in it utmost power is serene and noble, it is, on the other hand, extremely liable to contamination and produces a very disagreeable effect if it is sullied, or in some degree tends to the minti side. Thus, the colour of sulphur, which incline to green, has a something unpleasant in it.
771
When a yellow colour is communicated to dull and coarse surfaces, such as common cloth, felt or the like, on which it does not appear with full energy, the disagreeable effect alluded to it apparent. By a slight and scarcely perceptible change, the beautiful impression of fire and gold, is transformed into one not undeserving the epithet foul; and the colour of honour and joy, reversed to that of ignominy and aversion. To this impression the yellow hats of bankrupt and the yellow circles on the mantles of Jews may have owed their origin.
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Red-Yellow.
772
As no colour can be considered as stationary so we can very easily augment yellow into red dish by condensing or darkening it. The colon increases in energy, and appears in red-yellow more powerful and splendid.
773
All that we hav
e said of yellow is applicable here in a higher degree. The red-yellow gives an impression of warmth and gladness, since it represents the hue of the intenser glow of fire, and of the milder radiance of the setting sun. Hence it is agreeable around us, and again, as clothing, in greater or less degrees is cheerful and magnificent. A slight tendency to red immediately gives a new character to yellow, and while .the English and Germans content themselves with bright pale yellow colours in leather, the French, as Castel has remarked, prefer a yellow enhanced to red; indeed, in general, everything in colour is agreeable to them which belongs to the active side.
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Yellow-Red.
774
As pure yellow passes very easily to red-yellow, so the deepening of this last to yellow-red is not to be arrested. The agreeable, cheerful sensation which red-yellow excites, increases to an intolerably powerful impression in bright yellow-red.
775
The active side is here in its highest energy, and it is not to be wondered at that impetuous, robust, uneducated men, should be especially pleased with this colour. Among savage nations the inclination for it has been universally remarked, and when children, left to themselves begin to use tints, they never spare vermilion and minium.
776
In looking steadfastly at a perfectly yellow-red surface, the colour seems actually to penetrate the organ. It produces an extreme excitement, and still acts thus when somewhat darkened. A yellow-red cloth disturbs and enrages animals. I have known men of education to whom its effect was intolerable if they chanced to see a person dressed in a scarlet cloak on a grey, cloudy day.
777
The colours on the minus side are blue, red-blue, and blue-red. They produce a restless, susceptible, anxious impression.
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Blue.
778
As yellow is always accompanied with light, so it may be said that blue still brings a principle of darkness with it.
779
This colour has a peculiar and almost indescribable effect on the eye. As a hue it is powerful, but it is on the negative side, and in its highest purity is, as it were, a stimulating negation. Its appearance, then, is a kind of contradiction between excitement and repose.
780
As the upper sky and distant mountains appear blue, so a blue surface seems to retire from us.
781
But as we readily follow an agreeable object that flies from us, so we love to contemplate blue, not because it advances to us, but because it draws us after it.
782
Blue gives us an impression of cold, and thus, again, reminds us of shade, We have before spoken of its affinity with black.
783
Rooms which are hung with pure blue, appear in some degree larger, but at the same time empty and cold.
784
The appearance of objects seen through a blue glass is gloomy and melancholy.
785
When blue partakes in some degree of the plus side, the effect is not disagreeable, Sea-green is rather a pleasing colour.
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Red-Blue.
786
We found yellow very soon tending to the intense state, and we observe the same progression in blue.
787
Blue deepens very mildly into red, and thus acquires a somewhat active character, although it is on the passive side. Its exciting power is, however, of a very different kind from that of the red-yellow. It may be said to disturb rather than enliven.
788
As augmentation itself is not to be arrested, so we feel an inclination to follow the progress of the colour, not, however, as in the case of the red-yellow, to see it still increase in the active sense, but to find a point to rest in.
789
In a very attenuated state, this colour is known to us under the name of lilac; but even in this degree it has a something lively without gladness.
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Blue-Red.
790
This unquiet feeling increases as the hue progresses, and it may be safely assumed, that a carpet of a perfectly pure deep blue-red would be intolerable. On this account, when it is used for dress, ribbons, or other ornaments, it is employed in a very attenuated and light state, and thus displays its character as above defined, in a peculiarly attractive manner.
791
As the higher dignitaries of the church have appropriated this unquiet colour to themselves, we may venture to say that it unceasingly aspires to the cardinal’s red through the restless degrees of a still impatient progression.
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Red.
792
We are here to forget everything that borders on yellow or blue. We are to imagine an absolutely pure red, like fine carmine suffered to dry on white porcelain. We have called this colour “purpur” by way Of distinction, although we are quite aware that the purple of the ancients inclined more to blue.
793
Whoever is acquainted with the prismatic origin of red, will not think it paradoxical if we assert that this colour partly actual, partly potential, includes all the other colours.
794
We have remarked a constant progress o: augmentation in yellow and blue, and seen what impressions were produced by the various states hence it may naturally be inferred that now, the junction of the deepened extremes, a feeling of satisfaction must succeed; and thus, in physical phenomena, this highest of all appearance of colour arises from the junction of two contrasted extremes which have gradually prepared themselves for a union.
795
As a pigment, on the other hand, it presents itself to us already formed, and is most perfect as a hue in cochineal; a substance which, however, by chemical action may be made to tend to the plus or the minus side, and may be considered to have attained the central point in the best carmine.
796
The effect of this colour is as peculiar as its nature. It conveys an impression of gravity and dignity, and at the same time of grace and attractiveness. The first in its dark deep state the latter in its light attenuated tint; and thus the dignity of age and the amiableness of youth may adorn itself with degrees of the same hue.
797
History relates many instances of the jealousy of sovereigns with regard to the quality of red. Surrounding accompaniments of this colour have always a grave and magnificent effect.
798
The red glass exhibits a bright landscape in so dreadful a hue as to inspire sentiments of awe.
799
Kermes and cochineal, the two materials chiefly employed in dyeing to produce this colour, incline more or less to the plus or minus state, and may be made to pass and repass the culminating point by the action of acids and alkalis : it is to be observed that the French arrest their operations on the active side, as is proved by the French scarlet, which inclines to yellow. The Italians, on the other hand, remain on the passive side, for their scarlet has a tinge of blue.
800
By means of a similar alkaline treatment, the so-called crimson is produced; a colour which the French must be particularly prejudiced against, since they employ the expressions — ”Sot en cramoisi, méchant en cramoisi,” to mark the extreme of the silly and the reprehensible.
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Green.
801
If yellow and blue, which we consider as the most fundamental and simple colours, are united as they first appear, in the first state of their action, the colour which we call green is the result.
802
The eye experiences a distinctly grateful impression from this colour. If the two elementary colours are mixed in perfect equality so that neither predominates, the eye and the mind repose on the result of this junction as upon a simple colour. The beholder has neither the wish nor the power to imagine a state beyond it. Hence for rooms to live in constantly, the green colour is most generally sele
cted.
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Completeness and Harmony.
803
We have hitherto assumed, for the sake of clearer explanation, that the eye can be compelled to assimilate or identify itself with a single colour; but this can only be possible for an ,instant.
804
For when we find ourselves surrounded by a given colour which excites its corresponding sensation on the eye, and compels us by its presence to remain in a state identical with it, this state is soon found to be forced, and the organ unwillingly remains in it.
805
When the eye sees a colour it is immediately excited, and it is its nature, spontaneously and of necessity, at once to produce another, which with the original colour comprehends the whole chromatic scale. A single colour excites, by a specific sensation, the tendency to universality,
806
To experience this completeness, to satisfy itself, the eye seeks for a colorless space next every hue in order to produce the complementally hue upon it.
807
In this resides the fundamental law of all harmony of colours, of which every one may convince himself by making himself accurately acquainted with the experiments which we have described in the chapter on the physiological colours.
808
If, again, the entire scale is presented to the eye externally, the impression is gladdening since the result of its own operation is presented to it in reality. We turn our attention, therefore, in the first place, to this harmonious juxtaposition.
809
As a very simple means of comprehending the principle of this, the reader has only to imagine a moveable diametrical index in the colorific circle. The index, as it revolves round the whole circle, indicates at its two extreme the complemental colours, which, after all, ma: be reduced to three contrasts.
810
Yellow demands Red-blue, Blue “Red-yellow, Red “Green,