The American Scholar

Whether in music or architecture, literature, painting, or sculpture, are opens our eyes, ears, and feelings to something beyond ourselves, something we cannot experience without the artist’s vision and the genius of his craft. The placing of Greek temples, like the Temple of Poseidon on the promontory at Sunion, outlined against the piercing blue of the Aegean Sea, Poseidon’s home; the majesty of Michelangelo’s sculptured figures in stone; Shakespeare’s command of language and knowledge of the human soul; the intricate order of Bach, the enchantment of Mozart; the purity of Chinese monochrome pottery with its lovely names—celadon, oxblood, peach blossom, clair de lune; the exuberance of Tiepolo’s ceilings where, without picture frames to limit movement, a whole in exquisitely beautiful colors lives and moves in the sky; the prose and poetry of all the writers from Homer to Cervantes to Jane Austen and John Keats to Dostoevski and Chekov—who made all these things? We—our species—did. The range is too vast and various to do justice to it in this space, but the random samples I have mentioned, and all the rest they suggest, are sufficient reason to honor mankind.