25. The fact is, that it is not in intellect added to the bodily sense, nor in moral sentiment superadded to the intellect, that the essential difference between brute and man consists: but in the elevation of all three to that point at which each becomes capable of communion with the Deity, and worthy therefore of eternal life;—the body more universal as an instrument—more exquisite in its sense—this last character carried out in the eye and ear to the perception of Beauty, in form, sound, and color—and herein distinctively raised above the brutal sense; intellect, as we have said, peculiarly separating and vast; the moral sentiments like in essence, but boundlessly expanded, as attached to an infinite object, and laboring in an infinite field: each part mortal in its shortcoming, immortal in the accomplishment of its perfection and purpose; the opposition which we at first broadly expressed as between body and spirit, being more strictly between the natural and spiritual condition of the entire creature—body natural, sown in death, body spiritual, raised in incorruption: Intellect natural, leading to skepticism; intellect spiritual, expanding into faith: Passion natural, suffered from things spiritual; passion spiritual, centered on things unseen: and the strife or antagonism which is throughout the subject of Lord Lindsay's proof, is not, as he has stated it, between the moral, intellectual, and sensual elements, but between the upward and downward tendencies of all three—between the spirit of Man which goeth upward, and the spirit of the Beast which goeth downward.
26. We should not have been thus strict in our examination of these preliminary statements, if the question had been one of terms merely, or if the inaccuracy of thought had been confined to the Essay on Antagonism. If upon receiving a writer's terms of argument in the sense—however unusual or mistaken—which he chooses they should bear, we may without further error follow his course of thought, it is as unkind as unprofitable to lose the use of his result in quarrel with its algebraic expression; and if the reader will understand by Lord Lindsay's general term "Spirit" the susceptibility of right moral emotion, and the entire subjection of the Will to Reason; and receive his term "Sense" as not including the perception of Beauty either in sight or sound, but expressive of animal sensation only, he may follow without embarrassment to its close, his magnificently comprehensive statement of the forms of probation which the heart and faculties of man have undergone from the beginning of time. But it is far otherwise when the theory is to be applied, in all its pseudo-organization, to the separate departments of a particular art, and analogies the most subtle and speculative traced between the mental character and artistical choice or attainment of different races of men. Such analogies are always treacherous, for the amount of expression of individual mind which Art can convey is dependent on so many collateral circumstances, that it even militates against the truth of any particular system of interpretation that it should seem at first generally applicable, or its results consistent. The passages in which such interpretation has been attempted in the work before us, are too graceful to be regretted, nor is their brilliant suggestiveness otherwise than pleasing and profitable too, so long as it is received on its own grounds merely, and affects not with its uncertainty the very matter of its foundation. But all oscillation is communicable, and Lord Lindsay is much to be blamed for leaving it entirely to the reader to distinguish between the determination of his research and the activity of his fancy—between the authority of his interpretation and the aptness of his metaphor. He who would assert the true meaning of a symbolical art, in an age of strict inquiry and tardy imagination, ought rather to surrender something of the fullness which his own faith perceives, than expose the fabric of his vision, too finely woven, to the hard handling of the materialist; and we sincerely regret that discredit is likely to accrue to portions of our author's well-grounded statement of real significances, once of all men understood, because these are rashly blended with his own accidental perceptions of disputable analogy. He perpetually associates the present imaginative influence of Art with its ancient hieroglyphical teaching, and mingles fancies fit only for the framework of a sonnet, with the deciphered evidence which is to establish a serious point of history; and this the more frequently and grossly, in the endeavor to force every branch of his subject into illustration of the false division of the mental attributes which we have pointed out.
27. His theory is first clearly stated in the following passage:—
"Man is, in the strictest sense of the word, a progressive being, and with many periods of inaction and retrogression, has still held, upon the whole, a steady course towards the great end of his existence, the re-union and re-harmonizing of the three elements of his being, dislocated by the Fall, in the service of his God. Each of these three elements, Sense, Intellect, and Spirit, has had its distinct development at three distant intervals, and in the personality of the three great branches of the human family. The race of Ham, giants in prowess if not in stature, cleared the earth of primeval forests and monsters, built cities, established vast empires, invented the mechanical arts, and gave the fullest expansion to the animal energies. After them, the Greeks, the elder line of Japhet, developed the intellectual faculties, Imagination and Reason, more especially the former, always the earlier to bud and blossom; poetry and fiction, history, philosophy, and science, alike look back to Greece as their birthplace; on the one hand they put a soul into Sense, peopling the world with their gay mythology—on the other they bequeathed to us, in Plato and Aristotle, the mighty patriarchs of human wisdom, the Darius and the Alexander of the two grand armies of thinking men whose antagonism has ever since divided the battlefield of the human intellect:—While, lastly, the race of Shem, the Jews, and the nations of Christendom, their locum tenentes as the Spiritual Israel, have, by God's blessing, been elevated in Spirit to as near and intimate communion with Deity as is possible in this stage of being. Now the peculiar interest and dignity of Art consists in her exact correspondence in her three departments with these three periods of development, and in the illustration she thus affords—more closely and markedly even than literature—to the all-important truth that men stand or fall according as they look up to the Ideal or not. For example, the Architecture of Egypt, her pyramids and temples, cumbrous and inelegant, but imposing from their vastness and their gloom, express the ideal of Sense or Matter—elevated and purified indeed, and nearly approaching the Intellectual, but Material still; we think of them as of natural scenery, in association with caves or mountains, or vast periods of time; their voice is as the voice of the sea, or as that of 'many peoples,' shouting in unison:—But the Sculpture of Greece is the voice of Intellect and Thought, communing with itself in solitude, feeding on beauty and yearning after truth:—While the Painting of Christendom—(and we must remember that the glories of Christianity, in the full extent of the term, are yet to come)—is that of an immortal Spirit, conversing with its God. And as if to mark more forcibly the fact