De Witt H. Parker

“ To imaginative feeling, every landscape is a potential painting, every life-story a romance, history a drama, every man or woman a statue or portrait. Beauty is everywhere, where we who are perhaps not artists but only art lovers can find it; we cannot embody it in enduring form or throw over it the glamour of sensuous loveliness, but we can perceive it with that free appreciation that is the essence of art. ”

“ But music does more than express the inexpressible in ourselves; it gives us entrance into a supernatural world of feeling. Except at the rare high moments of our lives, its joys and despairs are too exalted for us; they are not ours; they belong to gods and heroes. In music the superman is born into our feelings. Music does for the emotions what mythology and poetry do for the imagination and philosophy for the intellect—it brings us into touch with a more magnificent life, for which we have perhaps the potency, but not the opportunity here. ”

“ For the human body unclothed, and as unclothed severed from the conventional social world, is a part of nature and speaks to us as nature does through form and color. To bring that object before us with all its expressive detail; to make us, in the imagination, move with it and touch it; to caress it with our eyes; to awaken that passionate interest which makes us see and feel it more vividly than anything else in the world, yet to subdue passion wholly to a glowing contemplation, this is one of the highest achievements of pictorial art. ”

“ This is pathos, not tragedy. And just as most of human life involves tragedy in so far as it develops a strength to meet the dangers which threaten it, so likewise it involves pathos, in so far as it seldom resists at every point, but gives way, blighted without hope. Many a man or woman issues from life's conflicts weaker, not stronger; broken, not defiant; petulant, not sweetened; and at the hour of death there are few heroes. Yet there may be beauty in the story of this human weakness and weariness. Whence comes it? How can the representation of this sheer evil become a good? ”

“ And yet both the imagination and the luxury of the worldling are usually lacking in one element essential to real kinship with the spirit of art—disinterestedness. The worldling's dreams of glory are projections of ambition, his luxuries subtle stimulations of appetite or instruments of display, her self-adornment a fine self-exhibition or coquetry. The love of insight, the free emotion, the enjoyment of sensuous harmonies for their own sake, are lacking or subordinate. Glory and luxury are too often mere masks of ambition and appetite, and at best counterfeits of beauty. ”

“ And for this, of course, the artists have prepared us; it is they who, by first exhibiting life as beautiful in art, have shown us that it may be beautiful as mirrored in the observing mind. One region after another has been conquered by them. The poets and the painters created the beauty of the mountains, of windmills and canals, of frozen wastes and monotonous prairies, of peasants and factories and railway stations and slums. Themselves the first to feel the value of these things, through some personal attachment or communion with them, they have made it universal through expression. ”

“ I would not base the value of art on the contrast between art and life; yet it is unlikely, I think, if life were not so bound and disordered, that art would seem so free and perfect; and it is often true that those who suffer and struggle most love art best. The unity of the work of art, in which each element suggests another within its world, keeping you there and shutting you out momentarily from the real world to which you must presently return, and the sensuous charm of the medium, fascinating your eyes and ears, bring forgetfulness and a temporary release. ”

“ Expression is embodiment. We find gayety in the colors of the painting, joy in the musical tones, happiness in the pictured face, tenderness in the sculptured pose. We hear the feeling in the sounds and see it in the lines and colors. The happiness seems to belong to the face, the joy to the tones, in the same simple and direct fashion as the shape of the one or the pitch of the others. ”

“ Of course, the walls within have their own beauty, of surface and pervading energy, but this does not differ markedly from that of the walls seen from the outside, and what we have established for the one holds for the other. But the beauty of the inclosed space is something entirely new.
In itself, however, mere volume of space is no more aesthetic than mere bounding line or surface; in order to become beautiful, it must become alive. But how can space—the most abstract thing in the world—become alive? ”

“ I now take delight in the perception of an object when formerly I took delight only in its use; I now enjoy the expression of purpose for its present perceived perfection, when once I enjoyed it only for its ulterior results. Such intervals of restful contemplation interrupt the activity of every thoughtful maker or user of tools. Thus the practical life may enter into the aesthetic, and that which grows out of exigence may develop into freedom. ”

“ The elaboration of sensation in perception is usually so rapid that, apart from reflection, I do not realize the mental activity involved. But if it turns out that it was some other man that I saw, then I realize at once that my perception was a work of mind, an expression of my own thought. Of course, not all perceptions are beautiful. Only as felt to be mysterious or tender or majestic is a landscape beautiful; and women only as possessed of the charm we feel in their presence. That is, perceptions are beautiful only when they embody feelings. ”

“ This fact, which has now become a well-recognized part of aesthetic theory, distinguishes music from all the other arts. Music supplies us with no definite images of nature, as painting and sculpture do, and with no ideas, as poetry does. It contains feelings, but no meanings. Music offers us no background for emotion, no objects upon which it may be directed, no story, no mise en scene. It supplies us with the feeling tones of things and events, but not with the things or events themselves. It moves wholly in a world of its own, a world of pure feeling, with no embodiment save only sound. ”

“ The transparent medium of prose shares the beauty of its content, just as a perfect glass partakes of the color of the light which it transmits.
The psychologic roots of prose literature are the impulses to self- revelation and to acquaintance with life. Every thing that has once entered into our lives, no matter how intimate, craves to come out; the instinct of gregariousness extends, as we have noted, to the whole of the mind. The completely private and uncommunicated makes us as uncertain and afraid of ourselves as physical loneliness. ”

“ The mischievous-comic, moreover, depends directly upon sympathy; for it requires that we take the point of view of the funny thing; our pleasure in it implies a secret sympathy for it—we hold it up to a standard, yet all the time are in sympathy with its rebellion. When we laugh at the prank of the child, love is mixed with the laugh. The dual nature of man as at once a partisan of convention and of the impulses that it seeks to regulate, is nowhere better illustrated than in the comic. Finally, disinterestedness is not peculiar to comedy; for it pervades all art. ”

“ I may take pleasure in the vision of purpose well embodied in an object which another man possesses, and my admiration will be as disinterested as my appreciation of a statue. And even if I do make use of the object, I may still get an aesthetic experience out of it, whenever I pause and survey it, delighting in it as an adequate expression of its purpose and my own joy in using it. Then beauty supervenes upon mere utility, and a value for contemplation grows out of and, for the moment, supplants a value in use. ”

“ For even if we always do go on to something better in the future, the past had its unique value, and that is lost ineluctably. The present doubtless repeats much of the form of the past—the essential aspects of human nature remain the same; but the subtle, distinctive bloom of each stage of personal life, and of each period of the world's history, is transient. We cannot again become children, nor can we possess again the strenuous freedom of the Renaissance or the unclouded integrity of personality of the Greeks. ”

“ But neither passion nor action appear in poetry as they are lived and enacted; for the poet, working in a medium of words, has to translate them into thoughts. Words cannot embody the real experiences which they express; experience is fleeting and falls away from the words, which retain only an echo of what they mean. Only what can be relived in memory can be contained in a word, and not even all of that; for a word is not a mere embodiment of an experience, but a communication also, and only its public and universal content can pass from a speaker to a hearer. ”

“ It is a familiar and generally recognized experience, as Lipps has observed, that any threat or harm done to a value evokes in us a heightened appreciation of its worth. Parting is a sweet sorrow because only then do we fully realize the worth of what we are losing; the beauty of youth that dies is more beautiful because in death its radiance shines the brighter in our memory. A good in contemplation comes to take the place of a lost good in reality. ”

“ As we listen to the music, we shall see the things we hope for or fear or desire; or else transport ourselves among purely fanciful objects and events. Music is a language which we all understand because it expresses the basic mold of all emotion and striving; yet it is a language which no two people understand in the same way, because each pours into that mold his own unique experience. In itself abstract and objectless, it may thus become, in varying ways, concrete and alive. ”

“ The other factors in the beauty of architecture, besides the expression of the forces resident in its forms, can receive only scant notice from us. Among these is light—its admission, exclusion, and diffusion. A house with ample windows flooded with sunshine shares the feeling of an open day; a cathedral, dimly lighted, stimulates a mood of brooding mystery and meditation, like some dark forest. Another factor is color. Color plays a double part in architecture: first, to enliven the neutral tones of certain materials ”

“ If, indeed, music were just a means for the arousal of feelings, it would not be a fine art, but an orgy. For, in order to be aesthetic, feelings must be not merely stimulated by, but objectified in, the sense medium, where they can be mastered and known. But the intimacy of music is not in contradiction with the freedom and objectivity characteristic of all art. For musical feelings, although they are experienced as our own, are nevertheless also experienced as the sounds; in music we live, not as we live ordinarily, within our bodies, but out there, in a rarer and unpractical medium—tone. ”

“ Just as our bodies are felt to be alive because our activities express themselves there, so our rooms, because we live and move within them. As we enter a cathedral and look down the long aisle, the movement of our eyes inevitably suggests the movement of our bodies; or, as we look up and our eyes follow the ribs of the vaulting, it is as if we ourselves were borne aloft; in the imagination we move through the open spaces; and since we do not actually move, we locate our impulses to movement, not in our bodies, but in the space through which we take our imagined flight. ”

“ The generations may judge it as they will, but as an expression of the energies of my own soul, it is divine. Of course, from the industry of our time, where most work is mechanical and meaningless to him who performs it, the spirit of art has largely fled. Yet there still remain tasks which we all have to execute, if not in business, then at home, which, by arousing our interest and invention, may become materials for the spirit of art. We have at least our homes, our pleasures, our relations with one another, our private adventures, where we can still be free and genial and masterly. ”

“ If, indeed, the sole effect of artistic expression were to bring to the mind objects and emotions in the same fashion that ordinary life does, then the value of art, the image of life, would be a function of the value of the life imaged. And just as one seeks contact with the good in real life and avoids the evil, so one would seek in art imaginative contact with the good alone. But expression, and above all artistic expression, does something more than present objects to the imagination and arouse emotions. Art is not life over again, a mere shadow of life ”

“ Every lover of poetry is aware of the large share which the mere sound of the words contributes to its beauty. This is true even when we abstract from rhythm, which we shall neglect for the time being, and think only of euphony, alliteration, assonance, and rime. There is a joy truly surprising in the mere repetition of vowels and consonants. For myself, I find a pleasure in the mere repetition of vowels and consonants all out of proportion to what, a priori, I should be led to expect from so slight a cause. ”

“ For once we take a contemplative attitude towards life, foregoing praise and blame, there is no spectacle equal to it for tragic pity and fear and admiration. There is a heroism in life equal to any in art, in which we may live imaginatively, and in so living forgive the evil that is its necessary condition. Or, when life is pathetic rather than tragic, suffering and fading and weak rather than strong and steady and resisting, we may win insight from the pitiable reality into the possible and ideal ”

“ The architects claim that their art is a liberal one aiming at beauty, yet most buildings to-day are objects of practical interest alone. Their doors are merely for entrance, their windows for admission of light, their walls for inclosure. Few people, as they hurry in or out of an office building or a railway station, stay to contemplate the majesty of the height or the elegance of the facade; they transact their business, buy their tickets, check their luggage, and go. Even when the building has some claim to beauty, the mood of commercial life stifles observation ”

“ In ordinary speech, the sound and articulation of a word, although indispensable to utterance, and therefore a necessary part of it, are of little or no value in themselves; for our interest is centered upon the meaning or upon the action which is expected to result from its understanding. We do not attend to the quality and rhythm of the word- sounds which we utter or hear, and the articulatory sensations, although felt, have only a shadowy existence in "the fringe of inattention." But in poetry, which is speech made beautiful, the mere sound of the words has value. ”

“ This is supplemented from still another source of value. Through artistic expression pent-up emotions find a welcome release. No matter how poignant be the experience expressed, the weight, the sting of it disappears through expression. For through expression, as we have seen, the experience is drawn from the dark depths of the self to the clear and orderly surface of the work of art; the emotions that weighed are lifted out and up into color and line and sound, where the mind can view and master them. ”

“ But we demand that the conclusions shall follow from the premises, that the whole be consistent. We cannot tolerate miracle in a realistic novel or drama, or glaring inaccuracy of fact in a historical novel, because they are in contradiction to the laws of reality tacitly assumed. The final demand which we make of any work, of art is that it live. What can be made to live for us may be beautiful to us. But nothing can draw our life into itself which has not drawn the artist's, or which is untrue to its own inner logic.
One of the most life-creating elements of a work of art is imagery. ”

“ The simplest aesthetic experiences, like the beauty of single musical tones or colors, are of no greater complexity; yet almost all works of art contain further elements; for as a rule the sensations do not exist for their own sakes alone, but possess a function, to represent things. The colors of a landscape painting are not only interesting to us as beautiful colors, but as symbols of a landscape; the words of a ballad charm and stimulate us not only through their music, but because of actions or events which they bring before the mind. ”

“ For unless the spirit of art or of religion is infused into life, we never find it quite satisfactory. To be sure, men sometimes think they find perfection in certain things—in practical or moral endeavor, in love or in pleasure; but unless art or religion is mixed into them, they always prove to be, in the end, disappointing. No practical purpose is ever quite successful; there is always some part of the plan left unaccomplished; and the success itself is only momentary, for time eventually engulfs it and forgets it. Practical life does not produce any permanent and complete work ”