He did not know what (Father Feijoo) 
§ I
In many productions, not only nature, but even art found by men other than those subject to their understanding perfections, another kind of mysterious delicacy, that the flatter the taste, haunts the understanding, that palpable sense, and can not decipher the reason, and so, wishing to explain, finding no voices or concepts that satisfy the idea was dropped in the rough disappointed to report such a thing is a something that pleases you love, that charms, not must be asked clearer revelation of this natural mystery.
enter into a building, giving the first blow in sight, full of joy and admiration. Rehearsing after a careful examination, no found that neither of his greatness, or for a copy of light, or by the preciousness of the material, nor the exact observance of the rules of architecture, exceeds, perhaps even equal, to others who have seen, without love or what they admire. If you ask what are exquisite and elaborate on this? respond, which is a something that captivates.
come to a delightful spot, which financed the amenity nature alone. Nothing found in exquisite in their plants, or in placement, shape or size, this study provides the art employing in the plantations made for the amusement of princes and peoples. No missing he crystalline beauty of running water, should complement all nice site, but that, far from the course observed in the Measured directions, precipitating and projections with which waves are played in real gardens, wandering where casual walks opening of the land gives way to the creek. However, the site will charms, fails to leave him, and his eyes are more in love with this natural untidiness, that of all the artificial beauties, making flashy and enjoyable neighborhood fifths of the magnates. Well, what does this site, lest there be in those? Is a something that those do not have. And there's no rush, that will not go away. Come
a lady or to give the matter more sensible idea, put it another way: graciosita see a village, which has just entered the court, and not well set in her eyes, when the image, which they moved to the imagination, they represent lovable object. The same people who looked with indifference or with an inclination warm the most celebrated beauties of the people, can hardly look away from the rustic beauty. What she found in singular? The skin is not white like many others, they see every day, nor the features are tighter or more slit eyes, no more ingrown lips or forehead so spacious, delicate or waist. No matter. It has an indescribable the aldeanita, worth more than all other perfections. We must not ask for more, say no more. This I do not know what the charm of his will and the impasse of understanding. § II
If you look closely, there is some kind of objects where this is not something. May raise us with his singing voice, which is neither so clear nor so extension, or as free game as others we have heard. However, it stopped us more than others. For how, if inferior to them in clarity, size and gala? No matter. Is this voice, I know not what, that is not in the others. Enamóranos the style of an author that neither the smoothness and brightness equal to others, we have read, or property exceeds it, yet he interrupted the reading of them without violence, and that only we can leave together. What is? That this author has, in the way of explanation, I know not what, which makes reading everything he says with delight. In the productions of all arts is the same something. We have recognized painters in his, under the name of fashion, voice, as they understand it, means the same, and the same confusion, that I do not know why, they say, that the way the painting is a hidden grace, indefinable, which is not subject to any rules, and only depends on the particular genius of the artist. Demoncioso (In praeamb. Ad Tract. Picture.) Said that so far nobody could explain what it is or what this mysterious grace: Quam nemo potuit unquam scribendo explain, that is the same as falling squarely in the do not know what .
This grace hidden, it does not know what it was who made precious Apelles tables on all of antiquity, so the same term, otherwise very modest and great keeper of all good art teachers, he testified, saying, in all other perfections of others that paint had equaled, or perhaps in one or another exceeded it, but he exceeded that grace hidden and that everyone else was missing: Cum eadem aetate maximize Pictor essent, quorum opera cum admiraretur, collaudatis iis omnibus deesse Venerem dicebat unam illam, quam Charita vocant Graecia, contigisse cetera omnia, neminem sibi sed hac parem alone. (Plin., Book XXXV, Chapter X.) Where notice is that although Pliny, who relates this, uses the Greek word charita, or charis, not in the Latin language to find some competent voice to explain the end, no explains the Greek word, because generically charis means grace, and so the three graces of Greek paganism called charitos, from which it follows, that this particular delicacy of Apelles, so do not know what it is for the Greek to the Latin and Castilian.
§ III
extends not only do not know what a pleasant objects, but also the anger; of luck, as some of those is a beauty that is not explained, some of these there is an ugliness that has no explanation . Well that is vulgar: Fulano me angry without knowing why. There is no sense does not represent this or that unpleasant subject, in whom there is a certain quality cavalier, who resists the attempts, which makes understanding to explain, and lately called a something to dislike, a something that bothers , a something that occurs in face, a something horrifying.
try, then, in this speech to explain what nobody has explained, natural decipher this puzzle, get this thing-like the mysterious darkness that has been so far, in short, to say what is it that everyone says, I do not know what it is. § IV
To which end I guess the first thing that we like objects (meaning of course, that what we say about them is equally applicable to its kind that we dislike) are divided into simple and compound. Two or three examples will explain this division. A voice sound like us, but is fixed at one point, that is, does not vary or alternate by several shades, forming some kind of melody. This is a simple object like ear. Agrádanos also, and more, the same voice, coming from various points, so arranged, they form a pleasing musical combination ear. This is a composite object, consisting of several points that complex, arranged in such proportions that the ear piece of her. Also pleasing to the eye emerald green, a fine white. These are simple objects. He also likes the game to make each other several colors (eg in a web or a garden), which are, respectively, are positioned so that a peaceful harmony in the eye, as the arrangement of different points of music to ears. This is a composite object.
guess, the second, many composite objects like or in love, while not having any part in them, which taken in itself flatter taste. That is, there are many whose beauty lies precisely in the mutual proportion or coaptation, which have the pieces together. The voices of music, taken each by itself, or separately, have no appeal to the ear, but artfully arranged by a good composer, are able to enchant the spirit. The same happens in a building materials in the parts of a pleasant site in the predictions of a sentence, in the various movements of a dance. Generally speaking, the parties have themselves beautiful or attractive, no, is true that no other beauty than that which is complex and consists of a welcome choice, order and proportion, ie, natural or artificial, Reciprocal of the parties.
guess, thirdly, that the object is pleasing to have a gender ratio and consistency with the perceived power, or the organ of power, that everything comes to reoffend in the same, without getting so far to explain what this proportion. Hopefully, that simple objects there is only one ratio, which is that they have the power, but the compounds should be considered two ratios: one of the parties themselves, the other from the same collection party to power, which comes to proportion of that amount. The truth of this assumption is clearly indicated that a single object like some and dislike others, can ensure that there is nothing in the world, that is to everyone's taste, which can not depend on anything else, that that the same object of proportion congruence on the temple, texture and arrangement of the organs of one and disproportionate to the other.
§ V
Seated these assumptions, I note that the doubt or ignorance expressed in the do not know what can be understood finished two different things, the what and the why. Explícome with the first of the examples given at the beginning of number five. When you say, this voice has a something that delights me more than the others, might mean or do not know what he likes in his voice, or do not know why he likes her voice. Too often, though the expression sounds first thing in the mind of the wearer meaning the latter. But that means the one, the other thing, see here cracked the mystery. The voice which just comes down to one of two things: either the sound of it (commonly called the metal of the voice), or how to play it, and almost no thought to do, know which of these things is specialty delights you. If sound, as usually happens, you know all there is to know in order to do. But I say, not resolved the doubt, because this sound has a something that I find in the sounds of other voices. Respóndote, serving well what I tell you that you call do not know what it is not simply the individual be of the same sound, which clearly perceive your ears, and through them came the clear understanding. Did you kill yourself, because you can not define or to name that sound, according to their individual being. But do not you realize that the same will happen with the sounds of all the other voices you hear? Individuals are not definable. The names, although voluntarily imposed on them, do not explain or give any idea distinctive of his individual. By chance, "so-called Pedro, citing Francisco, gives me some notion of that peculiarity of his being, by which each differs from all other men? Beyond that, do not you see either give, or happens to be given, particularly name any of the sounds of all the other voices? Believe me, therefore, also understand what is particular in that sound, and what is particular in any of the others, and you just need to understand that you understand.
If the play of voice, who finds the do not know why, but I think it rarely happens, I can not give the same explanation that comes to all cases of this kind, because they are a species all charms that fit into the game of the voice. If I hear that same voice, I would say about what is fixed in this grace, you call hidden, but I will explain some of these beauties, perhaps all, that you find difficult to explain, so that when the case for one or the other decode something. And I think that all boil down to three: the first is the break that handles voice, the second the accuracy of intonation, the third of those caught up complex musical dots that make up the chirping.
Rest that voice is handled, giving all of movements without effort and toil, is hilarious thing to the listener. Some handle the voice with great speed, but speed is concerned, or attained a tiring effort of singing, and everything is affected and violent dislike. But that there are few who do not understand, and so few in this primordial form on something.
The perfection of intonation is a beauty that is hidden even to musicians. He said the perfection of intonation. Make no mistake. Well distinguished musicians diverts most just intonation to some degree, put to such diversion of a comma, or a half point, that is, good luck to the quarter of a comma so that those with hearing very delicate, even being so short diversion, they perceive that the voice does not give the point with all fairness, it may not indicate the amount of deviation, that is, if it deviates half point, the third in a coma, etc. But when the diversion is much less, verbigracia eighth of a point, no one thinks that the voice belies something just intonation. However, this defect, that delicate, escapes to reflect the understanding and seems to be sensitive in the ear of the composition so that it pleases not as if sung by another voice, to give more just intonation, and if there are that much more full, like a lot, and this is one case where the game is in one voice I do not know how to spell, and do not know what is the most just intonation decryption. But it must be noted that the diversion of intonation, they face very often, not the whole point, but in one or minutísimas parts of it, so that although it seems that the voice is strong, say, in re, some very subtle loose lint, and upwards, downwards, interpolated straying very short space of time of that indivisible grade in the steps of the pitch should be at the re. All this rebuffs about singing, as well as the lack of these defects gives a remarkable grace.
The music warbles are second or accidental, motif that serves as the substance of the composition. This music second to sound good, it requires the same qualities as the first. Being taken away the warbling a voice traffic of different points, and the provision of timely and proper these points and on the first music and the lyrics, beautifully chirping sound, and lack these qualities, it sounds bad or not will grace some, which often happens, even throat singing flexible and agile, which, destitute of taste or genius, pervert, rather than decorate, the music dull and vain fluttering voice.
We explained why the do not know what in the above example. Subtraction explain why, but this is explained in number 11, and for this and all sorts of objects of luck, you know what pleases in the object, why should not they know what is in due proportion, congruent, to the perceptive faculty, or the temple of his body. And so you can see that there is more to learn in this field, choose either an object of your choice, one in whom found nothing of that mysterious something or other, and tell me, why is your taste or why he like it? No answer other than what is said. § VI
The above example gives a wide light to decipher not know which in all other objects belonging to any sense. Adequately explains how simple objects, and why simple and compound. Why is self at all. What of the simple difference is that deprivation of each individual in the way we account for the number 12, so that all the distinction is in order this from pleasant objects, which is not something or other, and those in which it is, is that those like them by their nature or be specific, and these by their individual experiences. This one likes the white color to be white, one green for being green. Here are no mystery to decipher. The species are like, but are perhaps a white, or green, without more intense the color, they like more than others. Then they say that white or green that have a something that falls in love, and it does not know what, I say, it is the individual difference of these two colors, though perhaps insensitive may consist of mixture of another color, which already belongs to the composite objects, that will try later.
But it must be noted that the individual difference is not taking us on such precise philosophical rigor, that all other individuals of the same species are denied their own attractiveness. In the entire collection of individuals of a species there are some very mutually similar, so that hardly distinguish the senses. Therefore, if one of them for individual difference like, also pleased the other for theirs.
I said in number 18, the example given explicaadecuadamente what of simple objects. And because of this case I oppose, that the explanation of the management of the voice is not adaptable to other distinct objects, therefore it is useless to explain why others. I answer, that everything said in order to manage voice, no longer plays a simple object, but the compounds. The chirps are made of several points. Rest and intonation are not different from that perfection does have music that sings, which is also composed: I mean, only conditions for the music sound good, which detracts much lacking proper pitch, or singing with fatigue, but by not letting incomplete explanation of why I do not know the voice, we expanded also the handling of it, and because what we have written in this part may enable readers to much discourse in order to Diferentis other objects. § VII
We already know not explain why the composite objects. In the latter case is where the most frequently do not know why, and therefore that is the very rarely do not know what the object where there is some composition. And what is not know what the composite objects? The same composition. I mean, proportion and consistency of their component parts.
Opondráseme than just ignore anyone that symmetry and straight arrangement of the parts causes the main, sometimes the only beauty of the objects. Therefore, it is not that mysterious grace who through ignorance or lack of penetration implementing something.
answer that although men understand this in some way, they understand with notable limitation, because only come to perceive a certain proportion falling within angostísimos limits or rules, that being so, there are countless other different proportions of what we perceive. Explicárame an example. The beauty of a face is true that the proportion of its parts, or in a well-prepared combination of color, size and shape of them. As this is one thing that both men are interested, after much thought, have come to determine or specify the proportion saying that has to be this way the forehead, eyes it, on the other cheek , etc. But what often happens? They see this or that face, in whom there is no study that all proportion and that they like very much. Then they say that despite such failure or fault, has that face I know not what bewitching. And this I do not know why, I say, a certain proportion of the parties that they had not thought of, and other than that they are only for the effect of making the face pleasing to the eye.
of luck, God, a thousand different ways and with many combinations of the most diverse parts, you can make beautiful faces. But men, and regulates inadvertently immense breadth of divine ideas by the narrowness of their own, have sought to reduce all the beauty of a combination alone, or at most a small number of combinations, and out of there, everything is for them a mysterious something.
The same happens in the provision of a building, in the proportion of the parts of a fun site. He does not know what grace, perhaps located in one eye and another is not nothing but a certain combination symmetrically placed outside the common rules. Ever find a building that in this or that part of it belies the rules established by the architects, which, however, makes it a wonderful effect, much more pleasing than others are quite happy with the precepts of art. What is this? How ignorant of these requirements the architect who devised? Nothing less. Rather they knew more and was the highest idea that ordinary artisans. He did everything according to rule, but as higher rule, which exists in his mind, other than those common, that the school teaches. Ratio, and large, symmetrical, and very tight, there are parts of this work, but that symmetry is not regularly studied, but a higher one, where he arrived for his bravery the sublime idea of \u200b\u200bthe architect. If this happens in works of art, much more in the nature, because these effects of an Architect of infinite wisdom, the idea of \u200b\u200binfinitely exceeds both the intent and the extent, all human thought and even angelic.
In nothing is this maxim as noticeable as in music compositions. Music has a system consisting de varias reglas que miran como completo los profesores; de tal suerte, que en violando alguna de ellas, condenan la composición por defectuosa. Sin embargo, se encuentra una u otra composición que falta a esta o aquella regla, y que agrada infinito aun en aquel pasaje donde falta a la regla. ¿En qué consiste esto? En que el sistema de reglas, que los músicos han admitido como completo, no es tal; antes muy incompleto y diminuto. Pero esta imperfección del sistema, sólo la comprenden los compositores de alto numen, los cuales alcanzan que se pueden dispensar aquellos preceptos en tales o tales circunstancias, o hallan modo de circunstanciar la música de suerte, que, aun faltando aquellos preceptos, sea sumamente armoniosa and pleasant. Meanwhile, lower-class composers claim that this is heresy, but what they will cry out that the supreme judge and only the music is hearing. If the music pleases the ear and very much, is good and bonísima, and being bonísima can not be absolutely against the rules, but against the rules limited and misunderstood. Say that it is against art, but, nevertheless, has a something that makes it look good. And I say, I do not know what that is nothing to be made as art, but art as superior to theirs. When they began to enter false in the music, I know, even covering a timely manner, would claim the largest part of the composers, who were against art today and all consider them as art, because art that was previously diminutísimo, was delayed by the discovery. § VIII
Although the explanation we have hitherto given of who knows what, is adaptable to everything below this confused expression is hidden, we must confess that I do not know what is true of our own species, which, by reason of its special character calls for more specific explanation. Said above, that this grace or beauty of the face, which, not understood, applies not know why, is a certain proportion of its parts, which share is different from that which is commonly accepted as a guideline unfailing beauty. But however this is true, there are some faces another more particular grace, which, although lacking the adjusted ratio of factions, very nice. This is one representation that makes the face of the good qualities of the soul in the way for another attempt we explained in Volume V, Discourse III, from number 10 to 16 inclusive, whose place we refer the reader, not force us to repeat what we said there. In the complex of those subtle movements of various parts of the face, especially eyes, which make up the representation expressed, not so much look at the bodily and spiritual beauty, or that resort looks beautiful, it shows the beauty of the mind, which certainly attracts more than body. There are precisely those subjects and positura eye movements, which are required to form a majestic and gentle laughter, they represent a spirit lofty, noble, insightful, accommodating, sweet, loving, active, what it does, those who watch them, the love without freedom.
This is the supreme grace of the human face. This is the one affixed to the opposite sex, passions have turned violent and stubborn, which adjusted the snowy whiteness and symmetry of features. And this is the one whose passions have them on, even though the are watching every moment, not just to decipher, so that when they are specified for those seeking to correct, to note the reason that such an object by dragging (such an object, say, which lacks the common perfections) are not what to say but has a something, which robs them of freedom entirely. Always bear in mind, to avoid allegations that this grace, as all the others that go under the cloak of batter do not know what is respective to the genius, imagination and knowledge of the perceiver. More I could think to say about the matter, but for some reason I am compelled to conclude this speech here.
