Then he continued as follows:
‘Gentlemen, beauty is a sacred thing, and I should not wish any of us to act like profane and sacrilegious men in speaking ill of it and thereby incurring the wrath of God. So as a warning for signor Morello and Federico, lest they are punished in the way most suitable for those who despise beauty, and lose their sight like Stesichorus, I say that beauty springs from God and is like a circle, the centre of which is goodness. And so just as one cannot have a circle without a centre, so one cannot have beauty without goodness. In consequence, only rarely does an evil soul dwell in a beautiful body, and so outward beauty is a true sign of inner goodness. This loveliness, indeed, is impressed upon the body in varying degrees as a token by which the soul can be recognized for what it is, just as with trees the beauty of the blossom testifies to the goodness of the fruit. The same is true of the human body, as we know from the way physiognomists often establish a man’s character and sometimes even his thoughts from his countenance. Moreover, even in animals the qualities of the soul as far as possible impress themselves upon the body and can be perceived from their physical appearance. Consider how clearly we can perceive anger, ferocity and pride in the face of the lion, the horse and the eagle; and a pure and simple innocence in lambs and doves; evil guile in foxes and wolves, and so with nearly all the animals.
‘Therefore for the most part the ugly are also evil, and the beautiful good. And it can be said that beauty is the pleasant, gay, charming and desirable face of the good, and that ugliness is the dark, disagreeable, unpleasant and sorry face of evil. And no matter what things you study, you will always find that those which are good and useful are also graced with beauty. Consider the structure of this great fabric of the universe, which was created by God for the health and preservation of all His creatures. The bowl of heaven, adorned with so many celestial lamps, and the earth in the centre, surrounded by the elements and sustained by its own weight; the sun, illuminating all things as it revolves, in winter approaching the lowest sign, and then by degrees ascending to the other side; the moon, which derives its light from the sun, in accord with whether the sun is approaching or drawing away; and the five other stars which separately travel the same course: these all influence each other so profoundly through the coherence of the natural order that if they changed in the slightest they could no longer exist together and the universe would crumble. Moreover, they have such beauty and loveliness that the human mind cannot conceive anything more graceful. Consider next the structure of man, who may be called a little universe in himself. We see that every part of his body is in the natural order of things made by design and not by chance and that his form as a whole is so beautiful that it is difficult to decide whether it is utility or grace that is given more to the human face and body by its various parts, such as the eyes, nose, mouth, ears, arms and breast. The same can be said of all the animals. Consider the feathers of birds and the leaves and branches of trees, which are given by Nature to preserve their being, and yet which are also of the greatest loveliness. Now let us leave Nature and come to human art. What is so necessary for a ship as the prow, the sides, the mainyards, the mast, the sails, the helm, the oars, the anchor and the rigging? Yet all these things are so attractive that anyone looking at them must conclude they exist as much for pleasure as for use. Columns and architraves support lofty galleries and palaces, but they are no less pleasing to the eye than they are useful to the building. When men first began to build they included the middle ridge in their churches and houses not to embellish their buildings but to allow the water to flow off without trouble on either side; nevertheless, attractiveness of appearance soon became as important as usefulness, so that if a church were to be built in a land which never knew rain or hail, it would seem to lack both dignity and beauty if left without the ridge of a roof.
‘Thus to call anything beautiful, even the world itself, constitutes the highest praise. It is praised when we say such things as: beautiful sky, beautiful earth, beautiful sea, beautiful rivers, beautiful countryside, beautiful woods, trees and gardens; or beautiful cities, churches, houses and armies. In short, this gracious and sacred beauty is the supreme adornment of everything; and it can be said that in some manner the good and the beautiful are identical, especially in the human body. And the proximate cause of physical beauty is, in my opinion, the beauty of the soul which since it shares in true supernatural beauty makes whatever it touches resplendent and lovely, especially if the body it inhabits is not of such base material that the soul cannot impress on it its own quality. Therefore beauty is the true trophy of the soul’s victory, when with her heavenly power she rules over material nature and with her light dispels the darkness of the body. We must not say, therefore, that beauty makes women proud or cruel, though this may seem to be the case to signor Morello; neither should we impute to beautiful women those enmities, deaths and destructions which are caused by the unrestrained desires of men. To be sure, I shall not deny that we can also find in the world beautiful women who are unchaste. But it is all the same not their beauty which makes them so; on the contrary, because of the bond between beauty and goodness, their beauty turns them away from impurity and leads them to the path of virtuous conduct. But sometimes evil training, the continual urgings of their lovers, gifts, poverty, hope, deceits, fear and a thousand other causes can defeat the steadfastness even of good and beautiful women; and for this and other reasons handsome men can also become wicked.’
Then Cesare remarked: ‘If what signor Gaspare alleged yesterday is true, then there is no doubt that women who are beautiful are more chaste than those who are ugly.’
‘And what did I allege?’ asked signor Gaspare.
‘If I remember correctly,’ replied Cesare, ‘you said that women who are wooed always refuse to satisfy their suitor, and that those who are not, do the wooing themselves. And it is certain that the beautiful are always more wooed and pursued in love than the ugly; therefore the beautiful always refuse, and so they are more chaste than those ugly women who, as they have no suitors, do the wooing themselves.’
Bembo smiled and said: ‘There can be no answer to this argument.’
Then he added: ‘It also often happens that, like the other senses, our sight can be deceived and can judge to be beautiful a face that is not so at all. For example some women occasionally display in their eyes and looks a certain enticing and suggestive immodesty which is called beauty by many who find these traits pleasing because they promise them the chance of gaining what they desire. But in truth this is simply meretricious impudence, and unworthy of so honoured and sacred a name.’
Pietro Bembo then fell silent, but he was urged to say more about this kind of love and about the true way in which beauty should be enjoyed; and at length he said:
‘I think I have shown clearly enough that old men can be happier in love than the young; and this was my premise. So it is not for me to add any more.’
Count Lodovico replied: ‘You have demonstrated the unhappiness of the young better than the happiness of the old, whom you have not yet taught what path to follow in love but merely instructed to let themselves be guided by reason. And many people consider that it is impossible to reconcile love with reason.’
Bembo was still determined to say no more, but the Duchess begged that he should do so, and therefore he continued:
‘It would be too unfortunate for humanity if our soul, in which such ardent desire can so easily arise, were forced to find nourishment only in what it has in common with the animals and could not direct its desire to its nobler element. So, as this is your wish, I will not refuse to discuss this noble theme. And since I know that I am unworthy to speak of Love’s sacred mysteries, I pray him so to inspire my thoughts and words that I can teach this excellent courtier of ours how to love in a manner beyond the capacity of the vulgar crowd. And because I have since boyhood dedicated my life to him, may my words now conform to this intention and redound to his credit. I maintain, then, th
at since in youth human nature is so inclined to the senses, while the courtier is young he may be allowed to love in a sensual manner; but if in more mature years he should be inflamed with this amorous desire, he must proceed with circumspection and take care not to deceive himself or let himself experience the distress which in young men deserves compassion rather than blame but in old men blame rather than compassion.
‘Therefore when he sets eyes on some beautiful and attractive woman, with charming ways and gentle manner, and being skilled in love recognizes that his spirit responds to hers, as soon as he notices that his eyes fasten on her image and carry it to his heart and his soul begins to take pleasure in contemplating her and feels an influx that gradually arouses and warms it, and those vivacious spirits shining from her eyes constantly add fresh fuel to the fire, then he should at the very beginning procure a swift remedy and alert his reason in order to defend with its help the fortress of his heart, and so close the passes to the senses and to desire that they cannot enter either by force or deception. If the flame is extinguished, so is the danger. But if it perseveres or grows, then in the knowledge that he has been captured the courtier should determine to eschew all the ugliness of vulgar passion and guided by reason set forth on the path of divine love. Then first he must reflect that the body in which beauty shines is not the source from which it springs, and on the contrary that beauty, being incorporeal and, as we have said, a ray of the supernatural, loses much of its nobility when fused with base and corruptible matter: for the more perfect it is, the less matter it contains, and it is most perfect when completely separated from matter. He must also reflect that just as a man cannot hear with his palate or smell with his ears, beauty can in no way be enjoyed nor can the desire it arouses in our souls be satisfied through the sense of touch but solely through what has beauty for its true object, namely, the faculty of sight. So he should ignore the blind judgement of these senses and enjoy with his eyes the radiance, the grace, the loving ardour, the smiles, the mannerisms and all the other agreeable adornments of the woman he loves. Similarly, let him use his hearing to enjoy the sweetness of her voice, the modulation of her words and, if she is a musician, the music she plays. In this way, through the channels of these two faculties, which have little to do with corporeal things and are servants of reason, he will nourish his soul on the most delightful food and will not allow desire for the body to arouse in him any appetite that is at all impure. Next, with the greatest reverence the lover should honour, please and obey his lady, cherish her even more than himself, put her convenience and pleasure before his own, and love the beauty of her soul no less than that of her body. He should, therefore, be at pains to keep her from going astray and by his wise precepts and admonishments always seek to make her modest, temperate and truly chaste; and he must ensure that her thoughts are always pure and unsullied by any trace of evil. And thus, by sowing virtue in the garden of her lovely soul, he will gather the fruits of faultless behaviour and experience exquisite pleasure from their taste. And this will be the true engendering and expression of beauty in beauty, which some say is the purpose of love. In this manner, our courtier will be most pleasing to his lady, and she will always be submissive, charming and affable and as anxious to please him as she is to be loved by him; and the desires of both will be very pure and harmonious, and consequently they will be perfectly happy.’
Then signor Morello remarked: ‘In reality, this engendering of beauty in beauty must mean the begetting of a beautiful child in a beautiful woman; and it would seem to me a far clearer sign that she loved her lover if she pleased him in this than if she treated him merely with the affability you mention.’
Bembo laughed and replied: ‘You mustn’t go beyond the bounds, signor Morello; nor indeed does a woman grant just a token of affection when she gives her lover her beauty, which is precious to her, and along the paths into her soul, namely, sight and hearing, sends the glances of her eyes, the image of her face, her voice and her words, which penetrate her lover’s heart and convey the proof of her love.’
Signor Morello then said: ‘Glances and words can be false witnesses, and often are. So anyone who has no better pledge of love is in my opinion most uncertain; and truly I was expecting you to make this lady of yours a little more courteous and generous towards the courtier than the Magnifico made his. However, I think both of you are acting in the same way as those judges who pronounce sentence against their own people in order to seem wise.’
‘I am perfectly willing,’ Bembo continued, ‘for this lady to be far more courteous to my elderly courtier than signor Magnifico’s lady is to the young courtier. And this is with good reason, for my courtier will wish only for seemly things, all of which she may therefore concede to him quite innocently. But the Magnifico’s lady, who is not so certain of the young courtier’s modesty, should concede him only what is seemly and deny him what is not. Therefore my courtier, who obtains all he asks for, is happier than the other, who is granted some of his requests but refused others. And to help you understand even better that rational love is happier than sensual love, I say that sometimes the same things should be denied in sensual love and granted in rational love, because in the former context they are unseemly, and in the latter, seemly. Thus to please her gracious lover, besides granting him pleasant smiles, intimate and secret conversations, and the liberty to joke and jest and touch hands, the lady may very reasonably and innocently go so far as to grant a kiss, which in sensual love, according to the Magnifico’s rules, is not permitted. For as a kiss is a union of body and soul, there is a risk that the sensual lover may incline more to the body than the soul; but the rational lover knows that although the mouth is part of the body nevertheless it provides a channel for words, which are the interpreters of the soul, and for the human breath or spirit. Consequently, the rational lover delights when he joins his mouth to that of the lady he loves in a kiss, not in order to arouse in himself any unseemly desire but because he feels that this bond opens the way for their souls which, attracted by their mutual desire, each pour themselves into the other’s body in turn and so mingle that each of them possesses two souls, and it is as if a single spirit composed of the two governs their two bodies. So the kiss may be called a spiritual rather than physical union because it exerts such power over the soul that it draws it to itself and separates it from the body. For this reason, all chaste lovers desire a kiss as a union of souls; and thus when inspired to love Plato said that in kissing the soul comes to the lips in order to leave the body. And because the separation of the soul from things that are perceptible to the senses and its complete union with spiritual things can be signified by the kiss, in his inspired book of the Song of Songs Solomon says: “let him kiss me with the kiss of his mouth”, in order to express the wish that his soul be transported by divine love to the contemplation of celestial beauty and by its intimate union with this beauty might forsake the body.’
All were listening very attentively to what Bembo was saying; and then, after a moment’s pause, he added:
‘Since you have made me begin to teach the courtier who is no longer young about love that is truly happy, I want to lead him a little further still. For to stop at this point is very dangerous, because, as we have said several times already, the soul is strongly inclined towards the senses; and although reason may choose well in its operation and recognize that beauty does not arise from the body, and therefore act as a check to impure desires, yet the constant contemplation of physical beauty often perverts true judgement. And even if no other evil resulted from this, absence from the person one loves causes much suffering. This is because when beauty is physically present, its influx into the lover’s soul brings him intense pleasure, and by warming his heart it arouses and melts certain hidden and congealed powers which the warmth of love nourishes and causes to flow and well up round his heart and send through his eyes those spirits or most subtle vapours, composed of the purest and brightest part of the blood, to receive the image of
her beauty and embellish it with a thousand varied adornments. In consequence, the soul is filled with wonder and delight; it is frightened and yet it rejoices; as if dazed, it experiences along with its pleasure the fear and reverence invariably inspired by sacred things, and it believes it has entered into its Paradise.
‘Therefore the lover who is intent only on physical beauty loses all this good and happiness as soon as the woman he loves by her absence leaves his eyes deprived of their splendour and, consequently, his soul widowed of its good. For, since her beauty is far away, there is no influx of affection to warm his heart as it did when she was there, and so the openings of his body become arid and dry; yet the memory of her beauty still stirs the powers of his soul a little, so that they seek to pour those spirits forth. Although their paths are blocked and there is no exit for them, they still strive to depart, and thus tormented and enclosed they begin to prick the soul and cause it to suffer bitterly, as children do when the teeth begin to grow through their tender gums. This causes the tears, the sighs, the anguish and the torments of lovers, because the soul is in constant pain and turmoil and almost raging in fury until its cherished beauty appears once more; and then suddenly it is calmed and breathes again, and wholly absorbed it draws strength from the delicious food before it and wishes never to part from such a ravishing vision. Therefore, to escape the torment caused by absence and to enjoy beauty without suffering, with the help of reason the courtier should turn his desire completely away from the body to beauty alone. He should contemplate beauty as far as he is able in its own simplicity and purity, create it in his imagination as an abstraction distinct from any material form, and thus make it lovely and dear to his soul, and enjoy it there always, day and night and in every time and place, without fear of ever losing it; and he will always remember that the body is something altogether distinct from beauty, whose perfection it diminishes rather than enhances. In this way the courtier of ours who is no longer young will put himself out of reach of the anguish and distress invariably experienced by the young in the form of jealousy, suspicion, disdain, anger, despair and a certain tempestuous fury that occasionally leads them so much astray that some not only beat the women they love but take their own lives. He will do no injury to the husband, father, brothers or family of the lady he loves; he will cause her no shame; he will not be forced sometimes to drag his eyes away and curb his tongue for fear of revealing his desires to others; or to endure suffering when they part or during her absence. For he will always carry the treasure that is so precious to him safe in his heart; and by the power of his imagination he will also make her beauty far more lovely than it is in reality.
How to Achieve True Greatness Page 7