This
is the period of its fairest maturity and blossom, in which the pure
vessel has arrived at perfection; the spirit of Nature becomes free
from its bonds, and feels its relationship to the soul. By a gentle
morning blush stealing over the whole form, the coming soul announces
itself; it is not yet present, but everything prepares for its
reception by the delicate play of gentle movements; the rigid outlines
melt and temper themselves into flexibility; a lovely essence, neither
sensuous nor spiritual, but which cannot be grasped, diffuses itself
over the form, and intwines itself with every outline, every vibration
of the frame.
This essence, not to be seized, as we have already remarked, but yet
perceptible to all, is what the language of the Greeks designated by
the name _Charis_, ours as Grace.
Wherever, in a fully developed form, Grace appears, the work is
complete on the side of Nature; nothing more is wanting; all demands
are satisfied. Here, already, soul and body are in complete harmony;
Body is Form, Grace is Soul, although not Soul in itself, but the Soul
of Form, or the Soul of Nature.
Art may linger, and remain stationary at this point; for already,
on one side at least, its whole task is finished. The pure image of
Beauty arrested at this point is the Goddess of Love.
But the beauty of the Soul in itself, joined to sensuous Grace, is the
highest apotheosis of Nature.
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