Francis Bacon's Essay of Beauty: Journal Article by A. Philip McMahon

Publication and Textual History

Francis Bacon's essay "Of Beauty" was not included in the first 1597 edition of his Essays. It first appeared in the second edition published in 1612, with important additions made by the third edition in 1625. The essay was disseminated through various editions, including spurious ones, as well as Italian and French translations before a Latin version appeared in 1638. This complex publication history influences interpretation and shows how the essay gained continental readership soon after its initial English publication.

Intellectual and Philosophical Context

Bacon’s essay reflects his broader empirical and pragmatic approach, treating beauty not just as physical appearance but as a mixture of external features and inner virtue. He uses techniques like antithesis and metaphor to argue that true beauty involves the harmony of outward grace and moral dignity, comparing virtue to a precious stone best displayed simply. Bacon was skeptical about beauty without virtue and believed excellent beauty includes a certain “strangeness” or imperfection that makes it memorable. He also references historical figures to illustrate the rarity of combining beauty with virtue, situating his ideas within Renaissance humanism and early modern philosophy.

Literary and Rhetorical Frameworks

Bacon employs rhetorical devices such as antithesis, allusions, and metaphor to explore beauty’s complexity. His essay follows a formal, analytical style typical of his other essays, reflecting an objective observer’s tone. The discussion of beauty’s qualities, like favor, color, and motion, draws on classical sources and Renaissance aesthetics, including influences from art theory and anatomy studies. This framework aligns the essay with contemporary literary traditions that aimed to analyze human qualities scientifically while appreciating their artistic dimensions.

Key themes

• Beauty’s value lies more in movement and proportion than in mere color or features.
• True beauty often includes a slight irregularity or “strangeness” that captures attention.
• Virtue and beauty rarely coincide fully; beauty often lacks inner spirit or moral excellence.
• Historical examples show exceptions where virtue and beauty coexist, like Augustus Caesar.
• Beauty is transient and fades with age, but grace can enhance it over time.

Motifs & problems

Bacon’s essay explores the tension between external beauty and inner virtue, often portraying beauty as superficial without accompanying moral worth. The recurring motif of “strangeness” or slight imperfection challenges classical ideals of flawless symmetry, suggesting that memorable beauty defies strict proportionality. Movement and grace serve as dynamic symbols that surpass static physical traits in attractiveness. The interpretive crux lies in balancing beauty’s external appeal with philosophical concerns of virtue and dignity, as Bacon uses historical figures to illustrate this complex relationship.

Study questions

What role does “strangeness” play in Bacon’s concept of beauty?
How does Bacon differentiate between beauty of features and beauty of movement?
Why does Bacon argue that beauty and virtue are rarely found together?
Can you identify examples today that challenge Bacon’s claims about beauty and virtue?
How does the historical context influence Bacon’s view of beauty?
In what ways does Bacon’s description of beauty reflect his scientific or philosophical outlook?
How does the ephemeral nature of beauty affect its value according to Bacon?
What significance does Bacon attribute to grace in advancing the appeal of beauty with age?

Critical approaches & debates

Scholars analyzing McMahon’s article on Bacon’s Essay of Beauty engage with both formalist and historical-contextual readings. Formalists focus on Bacon’s artful use of metaphor and paradox, emphasizing beauty’s complexity and “strangeness,” while historicists examine Bacon’s references to figures like Augustus and Edward IV to explore Renaissance ideals of virtue and appearance. Debates arise over Bacon’s claim that beauty and virtue rarely coincide; some argue this reflects early modern skepticism about surface versus substance, while others critique Bacon for possible contradictions in his examples, such as Ismail’s conflicting traits of beauty and cruelty. Feminist and postcolonial approaches remain limited but might question Bacon’s Eurocentric exemplars.

Key passages

McMahon highlights Bacon’s argument that beauty is most compelling when it includes “some strangeness” in proportion, making it memorable beyond perfect symmetry. The essay’s notable rhetorical turn contrasts the allure of “graceful motion” with static beauty, stressing that true beauty involves dynamic, living qualities. This metaphorically underscores the fleeting and composite nature of beauty, which resonates in Renaissance ideas of harmony and imperfection’s power to captivate.

Bibliography

• Bacon, Francis. The Essay of Beauty, in The Essays, 1625 edition.
• McMahon, A. Philip. “Francis Bacon’s Essay of Beauty.” PMLA, vol. 60, no. 7, 1945, pp. 729–747. Scholarly analysis clarifying the essay’s sources and interpretations.
• Related primary texts: Suetonius’s Lives of the Caesars (for Augustus), Renaissance writings on proportion by Leonardo da Vinci.
• Recent examination: Cambridge University Press, 2020 study on the essay’s textual history and continental reception.