Aesthetic sensibility

“ Throughout this discussion of the elements of the experience of art, I have used the terms emotion and feeling with an inclusive meaning, to cover impulses as well as feelings in the narrower sense. For in the aesthetic experience, there are impulses—impulses to move when action is represented in picture and statue, impulses to act, as when, in watching a play, we put ourselves in the place of the persons. ”

“ First, the theory, often called "hedonistic," that the value of art consists in the satisfactions of sense which the media of aesthetic expression afford—the delight in color and sound and rhythmical movement of line and form. ”

“ It is just this contrast and parallelism of structure as balance, proportion, symmetry, addressed to the mind, with expression as emotional content, that a true view of the aesthetic experience would lead us to challenge. If there is one thing that our study of the general nature of aesthetic experience has shown, it is that aesthetic emotion is unique-- neither a perception nor an intellectual grasp of relations, nor an emotion within the accepted rubric--joy, desire, triumph, etc. ”

“ But, first of all, we have to ask how the aesthetic pleasure even in formal beauty is constituted, and to what extent expression belongs to the beauty of pure form. Form is impressive, or directly beautiful, through its harmony with the conditions offered by our senses, primarily of sight and hearing, and through the harmony of its combinations of suggestions and impulses with the entire organism. ”

“ Here color and line, the whole picture in fact, counts for little or nothing except to stir an emotion, usually of grief or pity or love, or to preach a sermon; the unity of form and content is sacrificed, the one becoming a mere means to the other. But, as we know, it is never the purpose of art merely to stir feeling; its purpose is to objectify feeling; if the art be painting, to put feeling into color and line, and only when feeling is experienced as there is it aesthetic feeling at all. ”

“ The remaining question concerns the usefulness of the very demand for Beauty, of that Aesthetic Imperative by which the other uses of art are more or less qualified or dominated. In what way, the Reader may ask, has sensitiveness to Beauty contributed to the survival of mankind, that it should not only have been preserved and established by evolutional selection, but invested with the tremendous power of the pleasure and pain alternative? ”

“ Such different thinkings away from the shapes are often traceable to previous orientation of the thoughts or to special states of body and feelings. But explicable or not in the particular case, these varieties of one's own aesthetic responsiveness will persuade the Reader who has verified their existence, that contemplative satisfaction in shapes and its specific emotion cannot be given by the greatest artist or the finest tradition, unless the beholder meets their efforts more than half way. ”

“ CHAPTER XI THE DOMINION OF ART OVER NATURE: PAINTING In literature, as we observed in our last two chapters, nature does not find aesthetic expression on its own account. In the lyric, nature appears only as the reflection of personal moods and thoughts, in the drama and novel and epic only as the theater of human action or the determiner of human fate. In painting and sculpture, on the other hand, the expression of nature is the primary aim. ”

“ To this purity of aesthetic pleasure must be added its refinement, which implies not merely a certain remoteness from the bodily needs, but the effect of a union of sense and mind in giving amplitude as well as delicacy to our enjoyment of beauty. Marked off from practical activity, As the region of most pure and refined feeling, aesthetic experience is clearly marked off from practical life, with its urgent desires and the rest. In aesthetic contemplation desire and will as a whole are almost dormant. ”

“ In the balance of true taste one cannot weigh more than the other, considering that both here and there is wanting that which forms the aesthetic value of a work of art, the intimate union of spirit with matter, and the twofold relation of the work with the faculty of perception as well as with the faculty of the ideal. ”

“ They are the universal aesthetic values which may result from any free expression of life—the contemplative reliving of its joys, or the mastery of its pains through the courageous facing of them in reflection. ”

“ Indeed some of art's many non-aesthetic aims may themselves be foreign to elevation and purification, or even, as for instance the lewd or brutal subjects of some painting and poetry, and the nervous intoxication of certain music, exert a debasing or enervating influence. But, as the whole of this book has tried to establish, the contemplation of beautiful shapes involves perceptive processes in themselves mentally invigorating and refining, and a play of empathic feelings which realise the greatest desiderata of spiritual life, viz. ”

“ And even when the objects represented have a value in themselves, the superiority of their representation over the mere perception of them in nature comes from this source. Why, for example, does the painting of flowers by a real master afford a richer aesthetic experience than real flowers? Painted flowers have no perfume, rightly called the soul of flowers. ”

“ The feeling for the medium, the sense of what can rightly be done in it only or better than in anything else, and the charm and fascination of doing it so — these, I take it, are the real clue to the fundamental question of aesthetics, which is “how feeling and its body are created adequate to one another.” ”

“ It fulfills its function when the words are not unpleasant to the ear, and when their flow, adapting itself to the span and pulsation of the attention, is so smooth as to become unnoticeable, like the movement of a ship on a calm sea,—when it is a means to an end, not an end in itself.
Prose literature is, therefore, incompletely beautiful. The full meaning and value of the aesthetic are not to be found there, but rather in poetry, painting, sculpture, music, architecture. Yet prose literature remains art, if incomplete art—a free, personal expression of life, for the sake of contemplation. ”

“ In art, however, there are subtler aspects to the relation between form and content, and these have a unique aesthetic significance. For there, as we know, the elements of the medium, colors and lines and sounds, and the patterns of these, their harmonies and structures and rhythms, are expressive, in a vague way, of feeling; hence, when the artist employs them as embodiments of his ideas, he has to select them, not only as carriers of meaning, but as communications of mood. ”

“ First: how an aesthetic impression, intentionally or accidentally conveyed in the course of wholly different interests, can become a constant accompaniment to the shifting preoccupations of existence, like the remembered songs which sing themselves silently in our mind and the remembered landscapes becoming an intangible background to our ever-varying thoughts. ”

“ Notwithstanding this, a great point is gained already by the intervention of taste in the operations of the will. All those material inclinations and brutal appetites, which oppose with so much obstinacy and vehemence the practice of good, the soul is freed from through the aesthetic taste; and in their place, it implants in us nobler and gentler inclinations, which draw nearer to order, to harmony, and to perfection; and although these inclinations are not by themselves virtues, they have at least something in common with virtue; it is their object. ”

“ Of course, in so far as this expression is aesthetic, it is an expression not of nature alone, but of our responses as well; but nature is the starting point, not emotion as in lyric poetry, nor the effect upon destiny as in the epic. ”

“ The contemplation of natural objects is often the immediate cause of the artist's emotion. Are we to suppose, then, that the artist feels, or sometimes feels, for material beauty what we feel for a work of art? Can it be that sometimes for the artist material beauty is somehow significant—that is, capable of provoking aesthetic emotion? And if the form that provokes aesthetic emotion be form that expresses something, can it be that material beauty is to him expressive? Does he feel something behind it as we imagine that we feel something behind the forms of a work of art? ”

“ For given space-perception and empathy and their capacity of being felt as satisfactory or unsatisfactory, the aesthetic imperative is not only intelligible but inevitable. Instead therefore of asking: Why is there a preference for what we call Beauty? we should have to ask: why has perception, feeling, logic, imagination, come to be just what it is? Indeed why are our sense-organs, our bodily structure and chemical composition, what they are; and why do they exist at all in contradistinction to the ways of being of other living or other inanimate things? ”

“ These excitements vary constantly in their various renewals, and occasionally take such a form that the soul is surprised by the inward vision of an unexampled beauty. If this inward vision is clear and steady, we have an aesthetic inspiration, a vocation to create; and if we can also command the technique of an appropriate art, we shall hasten to embody that inspiration, and realize an ideal. ”

“ But these occasional, even frequent, lapses must not diminish our belief either in the power of art or in the deeply organised and inevitable nature of aesthetic preference as a whole. What the knowledge of such fluctuations ought to bring home is that beauty of shape is most spontaneously and completely appreciated when the attention, instead of being called upon, as in galleries and concerts, for the mere purpose of aesthetic enjoyment, is on the contrary, directed to the artistic or "natural" beauty of shapes, in consequence of some other already existing interest. ”

“ The aesthetic pleasure is in the richness of the material, the profusion of the ornament, the significance of the shape — in everything, rather than in the shape itself.
We have accordingly, in works of art two independent sources of effect. The first is the useful form, which generates the type, and ultimately the beauty of form, when the type has been idealized by emphasizing its intrinsically pleasing traits. The second is the beauty of ornament, which comes from the excitement of the senses, or of the imagination, by colour, or by profusion or delicacy of detail. ”

“ The theory finds support in the industrial arts, where beauty often seems to be only a luxurious charm supervening upon utility; but also in painting and sculpture when appreciated in their decorative capacity as "things of beauty." There is a partial truth in this theory; for, as we have seen, the sensuous media of all the arts tend to be developed in the direction of pleasure; and no man who lacks feeling for purely sensuous values can enter into the fullness of the aesthetic experience. But the theory fails in not recognizing the expressive function of sensation in art. ”

“ We enter the aesthetic expression through the sensuous medium; hence the artist tries to charm us at the start and on the outside; having found favor there, he wins us the more easily to the content lying within. ”

“ The inspiring lesson of beauty, expressed so simply and intelligently, will sink deep into the minds of the great masses, to be reborn in an endless stream of aesthetic expression in the spiritual and physical improvement of the people. ”

“ It is as the repository of deep desires and as the appreciation of values that the aesthetic may be most readily seen to be practical, but it performs other functions. As ecstatic experience it is the source of power in the conscious life, and it was indeed the belief in art as a means of attaining power that has given art its place in the world. The aesthetic experience is the form also in which desires are brought into relation to one another, harmonized and transformed, or transferred to new objects. So the aesthetic is the type of adaptation in the inner life. ”

“ These two aspects of aesthetic lines are closely related; they stand to one another much as the temperament or character of a man stands to his life history, of which it is at once the cause and the result. Just as we get a total impression of a man's nature by following the story of his life, so we get the temperamental quality of lines by following them with the eye; and just as all of our knowledge of a man's acts enters into our intuition of his nature, so we discover the character of the total line by a synthesis of its successive elements. ”

“ To the explanation of physical beauty as a mere aid for the reproduction of internal beauty, or expression, it might be objected, that the artist creates his expressions in the act of painting or carving, writing or composing; and that therefore physical beauty, instead of following, sometimes precedes æsthetic beauty. ”

“ If we do not know what part of our feeling is aesthetic feeling, how can wee go farther? If the introspecting subject cannot say, This is aesthetic feeling, it is logically impossible to make his state of mind the basis for further advance. It is clear that the great question is of what one has a right to include in the aesthetic experience. ”

“ But if we give the name emotion to that perfectly vague but unmistakable excitement with which we respond to purely formal beauty,--that indescribable exaltation with which we listen to "absolute" music,--then we must say that that emotion is but another name for aesthetic pleasure. Objectively, we have formal beauty; subjectively, on the physiological side, a harmonious action of the organism, and on the mental side the undefined exaltation which is known as aesthetic pleasure. ”