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http://www.archive.org/details/cu31924029098502
ESTHETIC PRINCIPLES
'J^^y^'
JISTHETIC PRINCIPLES
BT
M.A.
AND
a;STHBTICS "
AU
rights reserved
-f
0^
COPTBIGHT,
1895,
Reprinted December,
November,
1901.
Norbiootr "^xtSS
3. 9.
PREFACE.
One
of
the kindly
critics
of
my
book
am
I
have thought
it
to such readers a
field
way
and
often
able
in
a path
places
to
than that at
first
no
VI
PREFACE,
whole
subject
discussed
in
I
my
do
but
greatest interest
and
of
most practical
scientific
psychologist, I
that
it is
abandoned the
strictest
accuracy in ver-
bal expression
where
this accuracy
would have
I
must
me
is
rather
by
my
larger
work.
not a psychologist
;
if so, it
may may
relates to aesthetic
it
problems;
still,
over without a
trial.
This
consideration,
in consequence
was hastened
PEEFACE.
of the kind request
VU
of
by the Trustees
Colum-
bia College,
of lectures
New
upon the
al-
differ-
New
Yobk, February,
1895.
CONTENTS.
CHAPTER
The Observer's Standpoint.
The Field
of Esthetics.
I.
FAQE
CHAPTER
The Obseeveb's Standpoint.
Pleasure and Pain.
II.
II
33
CHAPTER
The
Artist's Standpoint
III.
52
The Art
Instinct.
CHAPTER
The
Critic's
IV.
Standpoint
84
^Esthetic Standards.
CONTENTS.
CHAPTER
AiGEDONic Esthetics.
1
V.
pAex
112
Negatiye Principles.
CHAPTER
Algedonic Esthetics.
II
VI.
156
Positive Principles.
Index
199
JESTHETIO PRINCIPLES.
CHAPTER
I.
I.
The word
is
one which,
is
to
whole realm of
Beauty.
for
it
meaning appre-
ESTHETIC PRINCIPLES.
Althougli
is
it
should
and as we
to indi-
then,
is
the
science
of
of
the
this
Beautiful;
study
this It is
we must not
meant
Beauty proper,
Ludicrous,
enac-
but
also
the
Sublime
and the
which are
tirely
states
sometimes
separated
knowledged to be closely
to
it.
As
crous are
duced by what
we
we
shall
man
is
us
the same.
This
is
recognized unwit-
artists
of
many
philo-
But there
to
is
beauties
mode
which
is
held to be higher
of the arts
is
than
another.
The hierarchy
determined
tions,
a matter to be
condi-
finally
by metaphysical
For
in
this
our
arts is
all of
them must be
is
M. Bosanquet thinks
this
emphasis of Imitation
is
not
done by many
of his
commentators.
ESTHETIC PRINCIPLES.
and
their effects
must be considered in
effects
conjunction with
the
produced
by
Beauty.
will find
me
using the
Even
we
ourselves get
no
aesthetic delight
from a
given impression,
we must
is
take
it
for granted
they
tell
us that the
object
considered
is
beautiful
by speech or by
in
other
mode than
it.
speech, viz.,
their action
is
iu relation to
comaes-
monly used
to cover the
whole realm of
thetic endeavour,
of
moit
ment.
is
and
draughtsmen only.
Now
us conto be
let
sider a distinction
of importance.
which seems to
me
nature of the
upon the
In
my
men
in this depart-
ment, I
find,
me
to
we have
before us.
We
first,
to the field of
Art
Instinct.
Standpoint"
of
AESTHETIC PRINCIPLES.
Standpoint,"
"Artist's
because
the
former
na-
communion with
our
aesthetic
we have
a
part
latter,
seen furnishes us so
field;
important
whilst
phasizes
art, is
of
the
the
the
to
view
which
emin
impulse
creative
work
bound to nature
less directly,
but on
tance
in that it cannot
be
cut
away
alto-
the
artist
his
creative instinct
critic of his
In this
point
of
own work. chapter we shall take the stand= the observer; we shall consider
itself
Beauty as impressing
upon
us,
and
we
shall
which produce
As soon
as
man
he
is
most nat-
THE OBSERVER
STANDPOINT.
As
by which he may
application of which he
for
may
destroy ugliness
it
how
glorious,
all
how
noble,
would
be, will
he say, could
beautiful whichever
So
the
it
earliest times
principles of
beauty.
Few
persons, indeed,
who have
of
Esthetics
from a
historical
standpoint
human thought
been
given
has
to
subject.
And
surely
est anticipation to
For
if
filled
with signs of
strive
failure,
is
to
which we
shown
worthy
of our labour
of impor-
tant thinkers
their atten-
8
It is
is first
ESTHETIC PEINCIPLES.
most natural for man, when attention
given to sucli a problem as the one
we
characteristic
To explain what
that
we had
discovered that
many
beauti-
ful objects
that roundness
essential to
if
beauty.
it
This, of course,
what
an objective quality
we always think of roundness as inhering in objects we project roundness into the outer world of objective things. To attempt to
;
for
we
every mental
to
and
recorded a
order, symmetry,
evident, however,
superficial
we
are considering
it,
limits=
Few
;
other thinkers
list
which determined
beauty
but this
is,
in
my
come
of objective observation
that
made by
the
who
claim to find in
beautiful
objects
some
fixed
its
Universal or
beauty.
This
own
difficulty in the
way
10
ESTHETIC PRINCIPLES.
any
and
of
of the acceptance of
the
many
sug-
account
which have
non
man
to cry de gustibus
disputandum.
If there be
Beauty,
we may well
How does
it
it
happen
in the
same
sug-
Is this due, as
Bergmann has
Then
surely
we have gained no
fundamental principle.
Is it
own
I,
?
developreader,
so that you,
my
in
my
less
This will
less
opment
see, for
the
fact that
what
I in
my
childhood held to be
beautiful, I
now
11
call beautiful
my
less
merely
its
opposite.
There
is
viz.,
that
it
make comprehensible
men who
its
are
develop-
of appreciating
kind.
music
if
thing that
we were
of,
gain a glimpse
then
seems to be no reason
why
the capacity to recognize this beauty in connection with other arts should, in any case,
be lacking.
12
ESTHETIC PRINCIPLES.
Now
view
led us
line
there
is
itself,
it
this
seems
consider
when he
an
or she
object.
special state of
mind
iato
as
we contemplate a work
There have been
some beau-
Of
In our genera-
13
men
e.g.,
strictly emotional
James
Mill,
Burke, Guyau.
There
intellectual
forms of mental
were
important.
which
itself
involved
even
if
their
ground be
shown
to be inadequate.
We
may
ure,
doctrines in
refer to
The
interested reader
my
fuller
and
^Esthetics, for
special theories.
I think
there
shown
and
it is
elements of our
mental
life,
14
state of
ESTHETIC PBINCIPLES.
mind
the
beautiful.
is
some common
to all
quality
attachable
is
of the
To
that
indicate
what
mean,
let
us suppose
we had
intensity of Sensation
was always
this
beautiful,
thought to
and Will.
Then we should
this
of
beauty.
if it
Of course
is
not
but
were,
we
for intensity is
its
(although
cause
may
be),
but
it
is
distinctly in us.
Now
such a quality as
we
we have
in pleasure,
which
that
is
is
and one
Intellect,
and to WUl.
To
mental impression
reader's particular
wish
now
to
draw the
attention.
15
all
Indeed,
we
might consider
the fact that
in
this
we
the
minds of
many
who
art
workers, and
of certain
theoretical opposition
on the part
distinctly
:
formalistic thinkers
deny the
Von Hart-
man,
this
position.
On
state-
not
from Epicurus to
Hume
whose
ments
may
sions of
and
example,
who
pleasure.
But at the
we
are
met by the
all
pleasures
are
16
it
ESTHETIC PRINCIPLES.
will
which are
issthetic,
we
are to
;
Esthetics
to of
the
before us
this ques-
stated in the
We
much
been
too
of the separation of
which we have
just
speaking
are
often
lost
sight
of
by
theoretical
writers.
But
if
critics,
less philosophic
and
scientific writings
than
its
getting
coupled with
to
arrange
If,
this pleasure-getting
logical
way.
who have
17
as the
best
are
Evidently then
it
the connection
sets of
phenomena that we
in
this connection is
found
if
we
consider
any
if
we
notice
its
characteristics
with care, we
upon
us,
special elements
If
now
we
the
its
eliminate
in
thought
the
pleasurable
we
main the
aesthetic
mass,
quality
gradually
still
disappears.
We may
acknowledge
aesthetic,
because of
own judgments
in the
past
has lost
that makes
18
it
ESTHETIC PRINCIPLES.
worthy of being
called
by
so honourable
a name.
We
may become
the
special
by
elements which
of
The suggestion
some
with
essential
all
time
One
special
lost for
mountain
of great natural
charm has
compared
me
all of its
impressive-
companion once
of
"corned-beef hash."
ess
by a
for
similar proc-
makes and
the masses
ridi-
unmakes
objects
think, that
is
the
state
impression
most
closely
bound to the
state of pleasure.
19
tlie
the
moment
should be no
to
diflS.cult
task, in
mark
off
that
assthetic
from that
is
it.
which
is
not.
The
task, however,
not
nearly so easy as
In
my
larger
we work
expect to find
I
sensational pleasures, a
view held by
no
less
fact, there is
no
atsoall,
off
are judged
standards.
by
ethical,
off
as
we
20
the use
of
ESTHETIC PRINCIPLES.
the imagination.
Neither
will
limitations to
immediacy of pleasure
effect, suffice
We
thetic
aes-
impressions
there
are
no pleasures
The
ordi-
how freely we
The chUd
use the
word "beautiful"
pleas-
to describe the
ures.
most commonplace of
calls
his sweets
beautiful.
The
some
cancerous tissue.
in
much
the same
way
and
so
it is
with the
Now
cut
if
21
dis-
then
it
is
and
them
to
in other words,
it
is
only
when we come
is
we we
call
a pleasure
aesthetic or
dis-
find ourselves
making the
tinction
fields in
an act of
judgment.
an important
distinction
shall refer
again.
But at
this
point
wish to
refer
to
first
chapter.
We
there
of
observed
number
authoritative
an Absolute or Univer-
22
ESTHETIC PRINCIPLES.
connection with aesthetic
at once arises,
stability, of fixity, in
may
and
be determined by the
aesthetic.
But
this
and we aU recog-
From
childhood to mature
we moment
ure
is
a pleasure
;
we were but
lately
experiencing
make
sift
intelligent.
however,
it is
we
are
compelled to admit
out some certain
that
impossible to
class of pleasures
identify
aesthetic
still
it
relatively
permanent
field
of
pleasure
in various ways,
although experi-
any permanency
of
any
specific
23
if
place
we
the
should find,
we
the
are
more quickly
apparent
degree.
wanes
less
much
of
when
If,
the
pleasures
are
low
then,
we can hold a
if
large
numsome
ber of
lighter
pleasures
together by
process of summation,
we may use
as
it
the term,
were,
we ought
would be
itself
could be.
That
sible, is
this
summation of pleasures
all of
is
pos-
evident to
us
when we think
to
of
certain
sensations
that yield
us
no
felt.
We may
we
find
touch
when the
is
same
satin or fur,
by which
we
24
ESTHETIC PRINCIPLES.
We may not
any
notice the
application of heat to
single spot
on our
stand
the
body
we
before a
all
stimulations of the
many heat-nerve
I think that
terminals
we can
obtain.
Now
if
we
of
ob-
what
is
beautiful in
art
natural objects
ing together of
many
delights,
which
indi-
We
will at
if
we
consider the
and
so
it
is
We
find the
same thing
strongly
marked
complex development
there
we depend
any
upon the
fulness of the
25
distinct
by the
melodic progressions.
pleasure background
The same
fulness of
all
may
be discerned in
Looking in another
direction,
we
find that
he
we
are able
to
wanes and
is
transformed into
into
pain,
occurring
in
all
di-
To
explain what I
of sugar.
as a
mean
let
We
matter of diet
and we take
so,
it
only so
far as
it
we
like to
do
just as
us.
to say
is
some one
any
26
ESTHETIC PEINCIPLES.
disagreeable phase.
But I think a
little
exif
its
him.
This
If
them continued
sweetness,
of
it
to
some
restriction
the
eating
employers.
Now
let
is
one which
naturally adopt.
It is at
created
by man are
may
us.
be withdrawn
from
consciousness
at
most important,
if
we
are to retain
that
attention to
27
To make
grammes
for tiredness,
see,
As our musical
there
in
is
pro-
arranged
at
times,
some people,
difl&culty
avoiding this
presently
degree,
although,
difficulty
as
is,
we
to
shall
this
a great
compensated for; but the arts that are dependent upon the organs of sight have here
a pre-eminent advantage, for a simple turn-
will
enable us
stimulation,
to
tion of
the
this
With
by any
si;ch
simple
movements.
We
from the
concert-hall, or else
we can
only
if it is
beginning
by the stopping
but more
tion
by conversation, or
more graciously
In
fact,
us.
what
28
ESTHETIC PRIKCIPLES.
call
we may
our
little
the
social difficulties
that go
and
music-lovers
not a
we
learn
will
and
we
to
but
women
finest
wear
our
as
clothes
and
to
ourselves
attractive
as
possible,
make when
are
less
allowable
much
of
is
less
considered.
The
inveter-
habit
the
eating of
sweets at the
plays
also a
means
of distraction,
which
Greek supremacy.
allowed to
cal artist.
Here perhaps
may
be
make
The
apt ence
to
he
together;
of
forget
the
danger
audience
29
music-
Many
lovers
now do
the
unable to avoid
goes with
the
disagreeableness which
become
to
The German
habit of
listening
much more
for thus
audience;
ability to
the
change his
But there
is still
mental elements
by the turning
same
of our atten-
subject, so that
That
this
all
kind of
assthetic
In examin-
we
find
30
ESTHETIC PRINCIPLES.
our point of
more often
that the
merely mentally.
Arts of
But
it
is
here
in his
power to
substi-
and
another
series,
and
this process
he
may
that
way
it is
not impos-
of
the
panoramic
this
power may be
who
appeals
think
my
reader will
now
agree to this
that while
on the
other hand,
permanent.
it is
in the
non-ses-
31
from
aesthetic pleasures.
It
seems but
is
this
that,
as
all
we saw
that
is
makes part
of
is
judged to be
aesthetic
which appears to
in reyival,
i.e.
be permanently pleasant
the reflection that
is
in
necessary in an act of
judgment.
to be
is
we
call
gesthetic;
what
indifferent in contemplation,
we
tolerate only
as
an adjunct; what
cast
is
painful in reflection,
field
we
entirely.
We
aesthetic because of
revival, but
aesthetic.
we
But what
shall
we say
of those
so-called
32
ESTHETIC PEINCIPLES.
name "pleasure"
entirely, the
them
name
clinging because of
Thus the
so-called
but in
memory
it
the experience
so closely
is
not
pleasurable, or else
is
bound up
the
that
we do not
to
find
experience as a whole
relatively
call
still
be
part of
;
our
we these states non-sesthetic, although we call them pleasures because the name
permanent
pleasure-field
hence
was
rience, of
is
consid-
Before
we
attempt to illustrate
this
view,
we
must
shall do in
CHAPTER
II.
II.
No
one of
the
my
readers,
believe,
will
regret that
aesthetic
problem leads us to
our atten-
tion
upon Pleasure.
is
There
certainly
ject of investigation
among
the
many which
that
it
appeal to the
Pleasure and
psychologist
its
than
of
is
correlate
Pain; but
the
subject
is
about
all
which
psychological
world
just
not at
at ease;
it is
the centre
it
now
has
been
until
egotis-
34
tically call
ESTHETIC PRINCIPLES.
the "
new
psychology."
I shall
field
not ask
of
my
reader here to
enter the
beg him
for
for
a moment,
and
assure
him
only a
moment,
to
stand with
me
aside
from the
drift
polemical turmoil
opinion.
of
What
late
them
Let us consider
mon
sense to
the
question.
In every-day
conversation
we
states
in
another,
and yet
some way
This
so
bound
together that
we can
scarcely speak of
is
them
except in one
less,
breath.
due, doubt-
common
experience,
demar-
35
is
and
pain themselves.
it
It
evi-
will be logically
and
improper course
is
exactly
what
we do
find adopted
by plain people
in every-
men when
and
tions
of
We
are
But sensa-
are
those
mental
states
all
that
are
determined, acknowledgedly in
pathological cases,
cial
but some
by the action by
of
some
spe-
envi-
conditions:
for
example,
Sight,
mental
36
ESTHETIC PRINCIPLES.
whole
Such
states are
A critical
many
but
it
no
same
actions,
;
which involve
special
cuts,
forms of
crushings,
sensation
viz.,
by
blows,
burnings, etc.
On
for
pleasures
and pains
are
not
by the perception
of external ob-
as
reactions
in
our
case
whole
of
nervous
emotions.
organism, as
the
the
37
connection
between
first
the
words
noted, would
us
to
the
conclusion
that
way
connected
especially emphatic
in
sensa-
most
life
of emotion.
The importance
thus noted
is
of
somehow have
to
attached
call intelis
them
also.
We
have what we
pains,
lectual pleasures
and
and there
is
no
doubt that in
cated
common
speech there
indi-
all fields of
may
be accounted for on at
38
1st.
ESTHETIC PRINCIPLES.
It
pain
are
which
oped.
all else of
life
This view
fascinating to
any one
it
fails,
man who
the
first
is
acknowledged to be a master of
order.
2d.
The explanation
of
may
day,
that of
Kant and
brought into
all
activity
of
in
some
occult
action.
way by
This
fill
other forms
mental
hypothesis
was
constructed
originally to
systemization,
it,
and a
examination of
favour
is
exceedingly
weak.
3d.
There
is
another
theory,
however,
39
that pleasures
and pains
may
which
arise in opposition to
is
favoured by
directions,
much
evidence reached in
many
which
we turn away from common sense to a more scientific classification, we find ourselves led to the same view. If we examine
if
Now
we
is
and an attempt
to relate
become emphasized
theorist.
in the
mental
life of
the
We
see that in
40
ESTHETIC PRINCIPLES.
and
two wide
classes
of
pains,
and
The pains
of despair.
of restriction, of disappointment,
The pleasures
2d.
The pains
of
The pleasures
But
it
of vigorous exercise.
difficult to
is
not
we
notions concerning the physical basis of mental action, the first class
clear
41
it
for
granted
that
pains and
to
all
ually be found
activity of
be statable in terms of
moment
of con-
The
difference
rest
coincidence with
pleasurable
states.
affected
by
the
rest,
of ac-
tivity
in
the
when
draught of energy,
we may
so speak.
But
42
AESTHETIC PKINCIPLES.
and nutrition
must hold
conscious
hence
we must
expect to find
sciousness,
and
either
of
proper conditions,
may
belong to any
ment.
is
this
we were brought
But
my
reader
may
protest, after
having
Why
this long,
distinctly psychological
Simply
and pain
make it very much easier for us to understand how it is possible to reach those
summations
which, as
and
successions
of
pleasures
we have
seen, determine
our
ses-
tbetic field.
43
then summa-
will
make
which we
and summations
to be
If
characteristic
aesthetic
impressions.
pleasure
is
related to
the
is
elements of
easy to con-
our mental
then also
it
them may
be evanescent,
we may
to
manency
to
of pleasure,
be
essential
field,
production
of
the
aesthetic
provided
give
we
shift
from the
at
elements which
us
pleasure
one
Now
first
let
chapter,
and
see
how
far
of
it
serves to ex-
plain the
most prominent
aesthetic facts,
44
ESTHETIC PRINCIPLES.
it
termined by permanency of pleasure quality, then the sort and kind of mental elements
that are thus pleasurable must determine the
nature of what
we speak
of
as beautiful
and kind
mental
that
of
elements which
so
make up
be
led
to
their
life,
we
should
the
expect
the
nature of
conception of
the beautiful
Clearly
would
this
to
expect indi-
what
a fact
beautiful
is
patent to
all of us.
Differences of race,
ilization in the
and
differences of civ-
same
race, are
determined by
differences in the
common
45
certainly shows
the
notion of
The barbarian
of
rejoices in decora-
tions
by the use
brilliancy of colour
and
strength of contrast.
in
culture, his
As
his race
increases
mental
life
becomes
more
calls
deli-
subtle
and
is
delicate,
beautiful
is
a similar change in
The
child
of
civilized
parent-
age delights in
much
but
it is
full
man-
men
of his age.
The occupations
of
a race
also, as
they
46
ESTHETIC PRINCIPLES.
fields,
determine mental
and
so
do we find
it.
The
chase, war,
in
the
life
of the barbarian
make
the subject-matter of
beautiful.
his art, of
ples of
what he
calls
Exam-
this
we
product of
in that of Greece.
As
change to those
life.
The
nobler love
of
moral action
life,
under
difficulty.
Our modern
of
which has
a wider choice
subject
treated
The forms
influential in all of
products, as
they
we
find
of
the
ideal
forms of
Greek
artist,
THE observer's
STATiTDPOINT.
47
to contain the
masses within
If
its
walls.
we should
theorist,
expect,
furthermore,
theory influenced
by
and we
emphasis by a
scientist
like
Grant Allen,
interested in neurology
ory
lanthropist
Guyau
ling;
like
by the
Schel-
philosopher, as with
Hegel,
or with
and
by men
Our
enables us to explain
men
ditions
as
an instance
of this
opposition,
sis of
we may
usefulness,
48
of
ESTHETIC PRINCIPLES.
an end
of
;
in opposition to the
Kantian exprinciple
clusion
recognized
aim.
The
men who
direction
It
explains
differences of
man
as
an example
which we
may
refer to
Matthew Arnold,
He
is
enough "
de
yet
in
essay
on
Maurice
" Poetry
tilings)
Guerin
we
it
find
liim
saying,
sense
can awaken
" {a full
it is
of
awaken
one of the
in
The Arnolds
and
notions
of
beauty
by the two
times.
49
The
scientist's
also explicable
when we
from
his
mental
life
those
he used to
and which
his
most
esteemed friends
called so.
He
his
surely
had not
but he had
youth,
of
price
for
what he had
attained in narrower
fields.
call atten-
which
is
obtained
when we
consider that
it
enables us
50
ESTHETIC PRmCIPLES.
phenomena
the
so emphatically un-
memory
for those
whose thought
directed to ethical
considerations.
Emo-
tional theories
day, careless
states
of
pleasure-pain
Intellect-
ual
by
of deep thinkers
must, in
its
of rationalistic data,
fields
must
therefore
tend
if
to
the
field
if
he take an-
life,
he
51
while
if
he be impressed
reflective aspect,
he
is
in contemplation.
Formalistic
theories
are
of consciousness,
Absolutism and
already seen, find
we have
pleasure,
the
aesthetic
and
ethical
and
to
spiritualistic
theories
are
evidently due
no revival pleasures
what
CHAPTER
III.
In the
first
chapter
we noted
a distinction
which we
live,
The
for-
mer
this
we have been considering imtil time; let us now turn our thought to
subject
latter.
the
This,
entire
the
reader
of
wUl
note,
involves
an
change
standpoint.
No
do
longer shall
we
who are impressed, but as those must who produce aesthetic works; that is, we now undertake the study of aesthetics from
the
standpoint
of
the
artist
rather
than
53
The
true artist
is
driven to his
work by
may, of
an overwhelming impulse.
course, deliberately determine
A man
upon an attempt
some man-
an architect
say, or a writer of
of skill
in
the
he
chooses.
He
shows
come from
Genius
artist
is
distinctly instinctive.
The
true
of
fire
upon
his instincts,
must be
led
by
his im-
pulses.
Intellectual
processes
may
command
his action in
unexpected.
We
all
is
espe-
54
ESTHETIC PEINCIPLES.
of his
the reflective
activities.
He
liable
to
see
visions
to be real for
as
These hallucinations
are most
genius,
marked
the prophet
to
unknown
apparent
said
of to
Puvis de Chathe
vannes,
world the
scaffold-
ings,
clearly before
him the
decoration, exactly as
we
was
see
it
This vision
specialist
what a
call
in nervous diseases
would
an halluciua-
55
in our midst
still
from
without themselves.
If
we
turn, however,
taking a more
scientific
which guides
while
to
the
artist,
it
will
seem
worth
we
from time
to time swayed.
To
those
who
will not
seem
reactions
of
the
whole system,
vidual belongs.
We
56
to find,
ESTHETIC PRINCIPLES.
still
existing in ourselves,
some gensuch as
whose
life
as related
We
may
;
not be
known
to
to the
individual to be so
a condition of receptive
reference
this
expansiveness
with
ap-
proaching object.
(&) for
reaction
arising
of
an
tageous
or shrinking, as
to
find
were.
We
should expect
phases
differing
quality
and
elemental width,
of
(c)
57
the disadvantageous.
We
should expect
because
it is
would
persist
when
Now
is
a coincidence be-
tween nervous
we should
complex
we may
call
We
should
therefore
expect to find
an
geous; another
C.
of the advantageous;
and
still
D.
58
ESTHETIC PRINCIPLES.
Now,
class
as a matter of fact,
we do
find cer-
which we
call
the "emotions,"
reflexly,
that
arise spontaneously
and almost
and
above mentioned.
A.
B.
C.
we
argument
in
life,
we
shall be
my
my
varied emotions
E.
we
find
Love, which
out toward
is
an advantageous
mood;
59
flee
Fear, which
is
from a disadvantageous object G. Anger, which is connected with a tendency to drive away a disadvantageous object
to act
and we might
H.
An
such a
way
as
would
attract
advantageous ob-
jects to us
is
But
in fact
we
find
no emotion
this
such as
symmetry.
may
exist,
may
and that
and
further,
by supposing that
by
this instinct
may
would
result
Emotions A, B, C, D, E, F, and
60
ESTHETIC PEIKCIPLES.
and a certain
to,
and
fix-
have gained
emotional names.
attachment of
life,
names
is
whilst the
reactions
under con-
by the experiences
man's
even
the
semblance
of
form
had
appeared.
That
the case of
the
we should not
defi-
As a matter
of fact,
we
61
recognized
by
all
to be
We
show
itself to
be of
What we
are
now
led
to
ask
is
this
whether there be
us, blind as
that
wUl
we
should expect
dencies, recognized in
human
race in
its
human
62
species
J.
ESTHETIC PRINCIPLES.
of
Prof.
Mark Baldwin
Secondly,
we
call these
we should
cies to
we
is
The
tifiable
easily iden-
em
the
life,
and
it
may be
first
at-
What
shall
we say of
Is
tendency
does
work
for
which
and which
63
an
instinctive
tendency so slow in
no emo-
tional
name
?
the reaction
I think
we have
;
it
in
what
is
usually called
what follows
as the "
Art Inis
The Art
in
Instinct certainly
blind
to
any end
mind.
It
none the
less
of producing objects
attract
in this
;
by pleasing moreover, it
out through
where emo-
names are
to
become
fixed.
64
ESTHETIC
PKIKTCIPLES.
Now
for
it
I think
my
of this long
and perhaps
subject
from
the
artist's
standpoint
has
we
con-
when
it
in
the
first
chapter
we
server;
namely,
and
pleasure-giving
aesthetic
are
of the
very essence of
that
phenomena, and
we
should,
A
sider
I wish
now
to con-
some points of
interest in connection
As
far
Stoics,
we
What,
65
When
its
many
difl&culties
in-
instincts.
of course, well to
Schiller
note and
viz.,
bond
arise
without
interests at stake
but
when we look
little
deeper
we
find
we
mean
"spontaneous," which,
having
no
evident
energy
tion
it
and upon a
little
further considera-
taneous"
tending to
the
use
of
complex
66
activities,
ESTHETIC PRINCIPLES.
which were to subserve valuable
our more
complicated
life.
ends in
The
requirements of
little
its
environment would
for
or no
field
;
developmental
rise
forces
to
work upon
of spontaneous activity in
tion,
some given
direc-
of gain or loss
to
the
might determine
and the
be of
by
elimi-
we must
"play
hold that
from
accumulated
instinct,"
energy,
this
so-called
we must
ties
part of this
love,
anger, the
67
the
instincts
leading us
what
is
known
what
to be useful,
and
also,
shall attract
by
is
pleasing,
the
"art
if
instinct."
It
apparent,
it
therefore,
this
as a devel-
opment
nation of
genesis
is
wish to ask
my
reader to emphasize
in his
mind the
above
feelings "
described
are
altogether
and
fear
any
notion
whatever
calls
we
are
doing what
nature
and
if
the relation-
art instinct
and the
we
the
impelling
apprecia-
man
to his
68
ESTHETIC PRINCIPLES.
is
really aiming to do
what
ours
In other
If this doctrine
artist
to give,
and which he
sees will
pay him
in
all
art effort.
is
involved iu
the theory
he
is
an
artist,
work
in order that
he
may
bring nearer
is
he
so
art instinct;
far does
i.e.,
results,
his admirers
who
69
The
art instinct
is
blind in
all
its
simplicity,
In proportion as
become
of
artistic
genius
is
nobility of
the man's
work
common
e.g.,
more
ings,"
love
We
find
men,
indeed, of
whom we
known
dently
sorrow, others
who seem
;
to be inca-
we speak
for a
relatively
such cases
we do not
fact
moment
and
that
sorrow
love
are
emotions
so
it is
common
to all of
our race.
:
And
who
70
ESTHETIC
superficial
PRIlirCIPLES.
upon a
lines,
but for
all
that I think
it
we may
so speak,
is
possession,
and
in
is
present to
some
as
small
extent
even
such a
man
we have
been describing.
works such
as, in their
developed
Almost
to
some tendency
write
or draughtsmen's pencil.
find a notion prevalent
we
in
amongst
that the
young
is
who
to
the
production of
art
works;
and yet
who would
71
was "called"
to the pro-
?
_
We
certain impulses
due to our
forms
individual
dim
past.
Capacities
The presence
is,
of
im-
the
young
therefore,
no sure
its
experi-
ence,
become
that
he will
tal-
and
It
feel that
life
to aesthetic production, in
life
72
ESTHETIC PRINCIPLES.
overwhelming in
its
power.
Those of mod-
means of
gain-
what
is
is
work
essentially luxurious;
demanded
fied,
man
are satis-
attracts
expected to "pay."
The
man who
artist,
although he
may have
acute percep-
tions
succeed in
of
making a
work
this
view of ours be
correct, there is
should
deem that he
aesthetic
called
upon to devote
what must be
Far
feels this
for
him
to guide his
energies
use-
and
in
which
pain
less of
73
and
less of
who dislike to see the poor artist suffer as much as he dislikes the process himself. Were these facts given their full weight, many would hesitate, as
public,
undertaking
art
work
as a vocation.
from the
to
artist's standpoint,
we must touch
chapter, in
which we are
;
for
it is
he
his
is
to
effective
worker must be
own
sternest critic.
with an ana-
theoretic
of the
all
endeavour,
of
to
be incompatible with
tern-
74
perament.
ESTHETIC PRINCIPLES.
The moments
seen
of
production are
we have
way opposed to the analytic life of thought is clear, when we consider that all artists do,
to
typical of scientific
and
to
rhyme and
;
metre, or of
they
must become
critical
and proad
own
reductio
absurdum.
said
is
that the
a matter
is
capacity,
not
THii artist's
standpoint.
of
75
often found.
critic
The more
scientist
and
the
him
he
guided
by
his
art
instinct,
the
The
exist-
ence of such
Vinci,
tists,
men
as Goethe
and Leonardo da
who were esteemed as eminent scienand who have made for themselves
artists,
enduring fame as
shows clearly
that,
where capacity
is
may
directions.
development of
analytical
that goes to
make a man
a
and
scientific
tion
of
an
will
artist
man whose
If
genius
is
artistic
tific
never be led
away by
is
scien-
concentration.
a student be thus
it
led
away, then
surely
evident
artistic
;
that
and not
and
Artists
of
very
it
mediocre
talent
certainly
would be
76
well
if
ESTHETIC PRINCIPLES.
some
of
to see
In
my
view,
when
we live, they wUl see some great aesthetic movement which we ourselves, perhaps, do
not recognize, and will find some masters of
aesthetic genius
who wUl
the force, as Shakespeare had in his day, to take hold of the main lines of the complex
all its
new-
and who
them which
Artists they
treat
be of noble mien,
who can
their
the
life
as
mere
shall
media
of
expression
and
work
77
life,
busy
have
There
is
much more
loss
I refer to the
and
its
fullest
this
danger.
That
aesthetic
this
danger
is
endeavour
fails
on
will, I think,
view.
This
danger, indeed,
all fields
is
workers in
tend to
All
men
by
their interest
tain end,
end
78
itself.
ESTHETIC PRINCIPLES.
In legislative
life,
tician,
fails to
even when he
is
not a self-seeker,
of
man
is
rare
who
is
forgets his
Orchestral leaders
attempts
produce
of
accuracy
in
tempo,
and
perfection
is
special
instrumentation.
The painter
ment, the
particularly liable to
become
ele-
"values"
perhaps, forgetful
of
full perfection of
work.
oblivious of
79
merely
composi-
drawings
are
They draw
in black
and
The great
artists,
indeed, are
those
who
like
inspirations,
and
when thus
expressed,
produce that
what
I consider the
most im-
we have
80
ESTHETIC PRINCIPLES.
In the
first
chapter
we
we have
our has
artist's standpoint,
itself
now
to take a wider
than
indiit
position.
Modern psychology,
as this
losophy of
life.
and answers
development of our
race.
The
that
if
doctrine
of
development teaches us
an
dividual,
it is
it
has
The
art instinct
is
evidently very
"
81
and
it is
exceedingly
occurred
instinct,
in
the
following
of
this
notice that
is
so far
as
the question of
function
and the
the
art instincts
instinct
are all
to
to be referred to
to act
attract,
spoken of under
above.
As we have no
the "
self-exhibiting
what
is
follows.
if
I think
hold, that
vidualistic
it
apparent,
pass
my
argument
indi-
we now
away from
considerations.
We
find
that
the
art
instinct
deals
all
that;
in
82
ESTHETIC PRINCIPLES.
witli the
and
growth
of sociality
I
and sym-
pathy.
And, although
that
Guyau
towards
I think
the
production
sympathy
life is
we may
funo
man
is social
consolidation}
Now,
Is
it
is
not
than
that
individualistic
observers
of
of
aesthetic
is
results
the
final
end
our
activities
to
obtain
per-
sonal delight;
cially refined
and
that.
We
see
in
view
than individual
significance
pathies.
1
Anfange from an
is
practically this
same view.
Mind
83
artist's
And
the
standpoint,
not this
conception
also
finds
aesthetic
end
is
sake " ?
that
the
while thus
is
expressing his
instinctive leadings,
at the
CHAPTER
THE
IV.
critic's standpoint.
this
we
that broad
of the
is
still
broader
field of .(Esthetics
which
impulses of
man;
in other words,
we
there
the artist.
we
this
discussed in the
diEEerence, that
first
observer
merely as
by
beauty,
as one
while
now we
judges
;
him
are
who
in other words,
we
now
to
view of the
critic.
84
THE
critic's standpoint.
85
impres-
of his
an observer, the
critic
undertakes
to
become an
arbiter as to the
worth and
To
the question
aesthetic
standards, thereoutset
give
our
We
standpoint of the
and
also
from
aesthetic
point of
must therefore be
We
have
seen
that
from the
field
of
aesthetic impression
we
no pleasure, whatever be
it
character, unless
bring with
it
at the time
an overbalance
of pain.
Any
way
86
ESTHETIC PRINCIPLES.
others in
an
associative train,
by
of aesthetic
judgment
field
quite
different.
The
of
and
many
impressions that
field
of
judgment which
is
determined by
of pleasure,
and the
an
THE
that
tlie
critic's standpoint.
87
ment
vidual
of
composed of pleasant
This indithat to
off-hand
standard of the
refer
which we
judgments in
it
assthetic matters.
its
nature
it is
must be exceedingly
for
by each
by every
Taking up,
ings,
we may
" Marching
through
" Hail
overwhelms one
ditions, could
not be appreciated at
all at
county
fair.
Differences of
and we
joy and
88
of
ESTHETIC PRINCIPLES.
an
Israel's
"Alone
in the World," or of
;
and equally
failure in
And
:
so of dif-
condition
the invalid
music
but
fire
the vigorous
man who
craves the
of Liszt
of
Wagner's creations.
But
is
quickly recognized to be
individual, but
which
less
Judgment under
by the
this standard is
determined
re-
momentary
from pleasure
in consideration
THE
critic's standpoint.
89
fields
judge as to what
is
beautiful
by those
thusiasms of the
fields are
moment
are gone.
These
we
make
after reflection,
personal tastes.
From them
unusual cases.
To
these fields
we
look in the
a work of
art, while, as
seen,
basis
But
it
stUl deal-
liable
to
for
it is
clear that
by the
in-
man, they
fields,
must change,
as do the
man's mental
The
aesthetic standards of
90
ESTHETIC PRINCIPLES.
middle age.
My
little girl
light, at sight of
" Oh,
how
beautiful
of
It
reminds
me
of the
most
delicious
desserts."
On
the other
decline
life's
agance
The
of
habit, too,
marked.
The
doctor,
as
have
noted
preparation of
artis-
The average
sical
tiful,
Renaissance architecture to be
finds in the
all
beau-
Romanesque masterpieces
an agent
width
of view
and
of education is so important in
THE
art matters.
CEITIC'S STANDPOINT.
If
91
we
men
we
come
find
when we do not
some extent
them with
us.
We
we
are to
the makers
ics as
of,
our own
well as in Ethics.
now taken
is
in the
education of architects
the case
often not
ephemeral
it
work
of
by
inattention,
it
when
it
found distasteful
and thus
must remain,
if it
who
are
come
after us.
As we have
said above,
we
are evidently
92
still
ESTHETIC PRINCIPLES.
dealing with standards that are only
rel-
Few
we
refuse to be
we ask for something more certain and stable we do not care so much what a person's individual judgment is, as what it ought to be. To reach the aesthetic "ought" of the hedonist, of him who believes in this
;
dependence
of
beauty upon
is
so
variable
thing as pleasure,
in
the world
for
man, as he
ordinarily
constituted.
it.
He
is
solutists.
His
own
absolute,
and
if
it is,
are led
by other than
aesthetic influences, or
what
is
good.
He
is
and when
THE
critic's standpoint.
less variable
93
than
who surround
and makes
own
taste,
But
it
is
we
when we
stable
feel the
the consideration of
as
objective
viz
,
.
as
any
absolutist
could
demand
(C)
to
the
highly
Cul-
Man
as
we
conceive him.
This
critic
is
own
individual
he
is
to treat sesthetic
The individual
whilst they must
own
field,
must
94
ESTHETIC PRIKCIPLES.
his
and
criticism
must be detennined by
which contains
for
all
that
is
common
to those
whom
he speaks.
This standard,
still
my
is
really changeable
rela-
tively
speaking,
it is
by processes
It
of wide
reach and
slow
development.
refinement.
change as a
life
and
of the
more
in the
sjonpathetic.
It
wiU
with variais
what
worthy
sincerity
and value
it
will be
found to be largely
This
says,
expressed by
Wundt when he
THE
conviction
is
critic's standpoint.
95
al-
its its
by
preserve
which
larly,
th'e
comprehended.
final
what, on the
The
it
objective
force
as a
real
existing Ideal.
Professor Royce
upon the
possibility of
comparison by individothers,
uals of effects
agreement in the
"it
is
social
community that
is
the true
With
this
96
ESTHETIC PRINCIPLES.
it
view in mind
ards that
we
are
now
discussing
must become
them
closely
For
are
we
in
taking
account
of
the
agreements
the
be-
we
are
endeavouring
co-ordinate
our
own
we must
it
none the
less
dependent
(D) The Ideal Esthetic Field.
This ideal
field,
no
which
we weakly
strain
but the
field
which in
field,
some direction
differs
THE
and
critic's standpoint.
97
Each
sort of
one of
us,
however
prosaic, has
some
an
ideal field of
it
this
kind;
non-agreement
with
So firmly rooted
ideal
artists
is
that intolerance
proverbial
own among
who
looks at the
subject
in
Once
ex-
a while an individual
enlightens
when
art,
pressed,
the
world of
;
and
the
field
artistic genius
he
is
who shows
to others
an ideal
effective
it
him
would
To express
work.
own
ideal
must the
artist
He
enjoyment, but
it
his
work
is
to be of importance,
effect;
must
it
must
of the
98
stable
field
ESTHETIC PRINCIPLES.
of pleasurable
must not
stand
is
opposed
the
objective
standard which
the value
of
given by recognition of
cultivation entitles
them
thority
(C);
if,
artist is to
it
must express an
mon
he wUl
another,
recognize, as
when
it
is
reached by
duller conceptions.
Now
I wish
to
ask
my
readers to note
The conception
Universal
of
an absolute standard,
of
Beauty,
which
the
artist
to conceive
from
philosophic value
it
it
attracts us
by
the relief
offers
THE
CEITIC'S STANDPOINT.
99
fact that
sitions of individualism,
it
and by the
sense
of
sublimity
an
Eesthetic
state),
which
indefinitely realized
to
invites worship.
But
if
we
lose
we
are on the
whole gainers.
view
tells
For
it is
never
to be lost to us.
its princi-
applied to
this, as
with
all else of
human
its
com-
loss of interest
de-
100
to look
-ESTHETIC PRINCIPLES.
man
towards
nobility
and
perfection.
as
human
develops
view new
and
and
still
re-
main
as
higher thinking.
Before
we turn from
my
reader of a
Hedonism
in
Esthetics
is
for
many
them
difficult to
to
savour of what
If it
cureanism.
merely teaches
THE
artist
critic's
standpoint
101
ure that
we
attacks
ure.
upon
all
emphasis of
aesthetic cult-
any such
The
artist
end in view, the voice of a leader, the guidance of an impulse, and the one
rightly of beauty
istic
is
who
any
judges
as far
influence as
is
possible imder
circumstances of
life.
art
presents
the cramping
in the
aes-
down
devel-
has an important
102
ESTHETIC PKINCIPLES.
If objects
is
evidently im-
we should
it
perceive beauty in an
object unless
pleasures.
the
strong bitterness
human
suffering,
of
the child
enjoy
in its entirety.
of beauty
must be
meat
to babes,
men
from the
breast.
We
or those of
ciate beauties
men
of capacity,
to the
possible.
absurd to
expect
average
THE
critic's standpoint.
to gain anything but
103
ennui
young children
and a sense
certs of
of distress
and
dislike
from conall
such
attempts are in
failure.
my
opinion foreordained to
It
is
"slums" by giving
to
them
exhibi-
be appreciated by mature
development.
the fullest
lesson
of
sympathy
in
"upper
hope in
of that I
am
convinced.
It is altogether futile to
attempt to force
aesthetic
standards upon
is
others;
what we
and
should aim at
them
to appreciate art
work
of high value,
To attempt
to force our
own
104
ESTHETIC PRINCIPLES.
ment; or
else,
and
all
evidently
immoral in
effect.
The most
taught by
one of liberality,
as to our own.
field of
As we have
is
childhood
man
of
mature years.
Differences of cultiin-
As we
per-
standards, as
fect ones
we hope
to gain
still
more
we
may
not
THE
critic's standpoint.
105
We
will agree
The
failure
to
is
The
belief that
beauty
something absolute,
to
many a man fulness of mnui, and leads many another to a hopeless cynicism, when he finds
which he
has
mastered, brings
that what he has learned to consider pre-
Such
is
many
critical
mind
reaches,
critic
could the
the
manner
in
which
own
aesthetic
field alters
stitution of
mind and
life.
Now
let us consider
application to the
critic.
There
is
a feeling
current to no small
tween the
artistic
critical attitude
;
producer
106
ESTHETIC PRINCIPLES.
by the
artist,
itself in objection to
encouraged
man
or
or race,
is
man
race
aesthetic
production
of
high
grade.
The study
fessed, has
of art history, it
must be
con-
for as
it
of art
work
high value;
of
it
seems also to
non-production has
it
might
accounted
spirit
for,
THE
critic's standpoint.
107
critical
work which
this opinion.
is
superficial is clear
howis
we have
no
mental attitude of
and further
already noted,
who
artist
must
an observer,
he be-
work
in so far as
comes
own most
serious critic.
is
It is evi-
no fundamental
critic.
But
it is
hostility.
A man
ficial
may
to super-
sympathy with,
108
ESTHETIC PRINCIPLES.
methods
is
name
a
of
It is this
and which
not for
moment
to
be condoned.
To become a
worthy
critic,
make
himself
artist's
technical methods
and
If
and
his
ciated
by one who
other
and equally
here
directions.
And
They
we
mental
are seldom
They
comer
little
wide
field of aesthetic
endeavour, and
they judge
all else in
Perhaps
it is
the lover
Wagner who
deals
fails to see
beauty in music
that
with
clearer
THE
critic's standpoint.
109
one
formal counterpoint.
feels
Perhaps
it
is
who
and
ing
all else in
it
by comparing
of the master
it
whom
work
he worships.
Perhaps
is
a lover of Milton
who
refuses to see
strength in the
is
of another
whose
style
more
free,
mystical.
The
his
and the
critic,
artist so far
it is
as he
is
own
acute
must,
true,
consider
first
we most
surely
tire,
and that
fuller,
the aesthetic
work
to
The emphasis
liable to
the
critic's
mind, of
is
thus
view which
judgment.
This
is
110
AESTHETIC PEINCIPLE8.
attaching to the purist's
aesthetic life, as
a special danger
standpoint.
Habit, in the
man may, by
dain a
work which
.
fails to
come up
to his
standard in these particulars, whilst he altogether overlooks graces and strength in other
Perhaps the
self of
when
shocked,
judgment.
Width
the
of
education,
width of
which
the
critic
guard
against
the
pitfalls
we have
thus
THE
critic's standpoint.
Ill
attitude;
and
this is said
not only
and
all
my
readers
assume
our companions.
already said, for
heeded, to
art for
objects.
It is
so
easy, as
have
is
critic,
whose word
On
of
some work
work
trust
it is
who
our judgment
equally true
to
its
that
or blame given
a work
of
power
who
after
for them.
Let
us
to
all
it
when we act as critics, look well that we use the influence which we wield
then,
and not
: ;
CHAPTER
V.
I.
ALGEDONIC ESTHETICS.
this
we have
as
may
with pro-
Hence the
being used
title
of
-qBouT],
cover
the
whole
ground
of pain
and pleasure.
the
critic,
and have learned to appreciate the importance of width of view, and of liberality of
judgment concerning
others' standards
but
NEGATIVE PRINCIPLES.
siderations of
113
the
first
The end
works
is
to
which the
producer
man;
ation
full,
and
relatively
permanent
are the
who
manwhich
hood, and in
whom
is
ment
is
towards
human thought
We
are
now
to
we may
others' like
nature
of
pleasure which
for both
we
see to be so all-important
critic-observer.
worker and
study
be
If our
it
theoretical
worth
anything,
from
114
possible, in
ESTHETIC PEINCIPLES.
some
cases at least, to trace the
of
practical
application
the
principles
dis-
adopted by
and perhaps
bases
finally to find
the psychological
upon which
theories
have
aesthetic
which we
cinctly the
theory which
we
are to develop in
is
what
follows.
The Beautiful
activities or productions of
man, which
pro-
permanently pleasant.
have spoken of
this
upon
it
here.
is
that which
that
remain permanently
in retrospect.
when viewed
ugly
in
set
For
in-
stance, a
alto-
gether
obtained
impressions
may
be
NEGATIVE PEINCIPLES.
saving a
115
man from
suffocation in
some nau-
seous chamber.
scene,
But
aesthetic
and
all
that
this
nobility
implies,
sweeps
the
to be effective as
an
aesthetic
object, it
its
it
more than
with that
that,
of pleasurable revival
call
which in
reflection
artist
we
the
our aesthetic
all
field.
The
must
employ
possible
means leading
to
in
the
way
of
perhaps
may
;
in revival
and
116
ESTHETIC PEINCIPLES.
ia
presentation
art,
provided
it
revival,
that are
pleasant.
He may
even
give
decided active painfulness in the direct presentation produced by the examination of the
art work, provided the result in revival be
on
this
account
pleasurable.
tion,
He may
if
in
either
presentation
in
moderation,
when
of
the
removed.
Even
works,
fields;
in
the
mere
examination
of
art
revival
restrict
our
mere
we allow
the play
of revivals to
have
ment
is
gone.
NEGATIVE PRINCIPLES.
vival are of pre-eminent
consideration.
117
in aesthetic
moment
to a con-
means
to be adopted to pro-
AU
which
wUl agree,
I
I think,
First, that
a given
ele-
ment of
consciousness,
the
conditions
if
that
the conditions
Second,
is
that there
also
is
not painful.
This
is
the
field
of
so-
moment
Now,
it is
and
118
ESTHETIC PEINCIPLES.
reach pleasure with any given set of
we can
mental elements.
The
field of
pain must be
is
that
must be suppressed so
elements
far as
ing of
by those
which do not
from what
that
we may
aesthetics
the
Elimination of
Ugly. are
practically
We
all realize
that there
two great
classes of pains.
produced by repression of
second,
activities;
and,
of
the
pains
produced by excess
active functioning.
I
all probability
must be
referred
NEGATIVE PRINCIPLES.
to the second
;
119
As a we
and
pain, viz.,
common
basis of all
pains,
distinction
between
who
pain production.
We
first
may,
therefore,
principle into
two
and
the prevention of
when a mental
if
ele-
to so appear.
This
may happen
(1st)
120
ESTHETIC PRINCIPLES.
arises
manner
in answer to certain
Examples
of this
form
which
the
in
connection
activities, of
resultants throughout
suffocation
holding of one's breath and the pains of hunger and thirst arising from abstinence from food and drink are due to such repressions.
if
we
one
no
who
work
its
of one's breath, or
upon
we
experience
is
when we hunger or thirst, there no reason why we should enlarge upon this
These
special
point.
repressive
pains are
NEGATIVE PRINCIPLES.
conditions,
121
held
naturally avoided, as
to find
them
There
is
however, which
I
refer
much more
importance.
if
to those
mental elements
production
latter
of,
pear.
We
calls
At a
sound
lecture-room
some
business necessity prevent our going to dinner, or if the persistency of our lecturer pre-
we
All
know
under
this heading;
fail-
they are
all
painful
states
caused by
122
ESTHETIC PRINCIPLES.
in
ures of fruition
directions in
which our
mental
life
we
must, in general, avoid the stimulation of cravings which cannot be satisfied, the production
of desires
of fulfilment,
not be completed.
It
is
first
is
glance, that
recognized by artists or
Indeed, on
the contrary,
many works
of art
which we
all
and
indefinite sort.
But when we
we
for
see
it is
why no
evident
such rule
is
acknowledged
provided the
observer's
thought
is
thereby
turned in
new
directions of pleasure-getting.
NEGATIVE PEINCIPLES.
It will be admitted, I think, that
it
123
cannot be
cannot be forgotten that as long ago as the days of the Greek supremacy, the power of
artistic
work was
felt
lesser
pity, or
and
which bring
what
is
ment
would
as
much
by
is
produced,
or or
by the by the
impulses
revival
which are
of
awakened,
old-time
are
in reflection that
we
by these works
As we,
in revival,
state
feel
sympathetic
or
delights
which
give
them worth,
we
124
AESTHETIC PRINCIPLES.
US impulses that
ethical value,
we hold
it
to be
of highest
and which
we
have possessed.
repression,
With the
bitterest pains of
we contemplate the portrait of one whom we have loved but lost and yet, with the pains, are aroused so many trains of memory which tell of joy, that we return
;
We
of other
But there
is
aesthetic
work
high quality.
A
is
careful study of
an indication that
would appear
all.
pleasurably
if
it
appeared at
If,
then,
by the pleasures
NEGATIVE PKIKCIPLES.
sion,
125
within limits,
may
be encouraged by art
The pains
of re-
action supervenes
it
will bring
induced
by the
organ's
activity.
These
may
because
thereby he will gain certainty that the pleasure limits have been attained, and that a full
pleasure will
is
we should
practical exemplifications of
them
in arts that
phenomena
literature.
of succession,
in music
and in
In music, we
126
of
ESTHETIC PRINCIPLES.
In literary work, we have
painfulness.
and
finally reached.
SchUler, speaking
of
itself
felt
except in conflict.
accompanied by pain."
The
principle
is
one
and here
think
we have
its
is
basis; for, as
we have
are
a most impor-
How
full
we
to
know
that
we have gained
we
maximum?
We
many
of the
of
Ugly
to the Beautiful,
and
of the value
Ugly
as
an element
which we
may
NEGATIVE PRINCIPLES.
127
modern
nected
artistic
if
beauty and
his art
fied,
objecti-
over
we must
avoid.
our
consideration,
however, are
those
which
arise
the
usual
order
of
this
appearance
remaining
unfulfilled.
upon combinations
easily alterable,
in varied orders
which are
we
in
our weakness
cannot for
moment hope
128
ESTHETIC PEINCIPLES.
they engender.
to find
We
It is
make up
is
determined by the
disappointments
many
of expectancy, each painful, in too small a degree, indeed, to be emphatically presented, but
make up an aggregate
In one
Let
me
of his interesting
tells
an
to appear beautiful to us
must not
The
lines,
ments
of
stimuli,
which, though
complex
of analysis,
NEGATIVE PRINCIPLES.
129
nervous system into preparation for the reception of stimuli in corresponding orders
and
arrangements, and
this in psychological
terms
of a tendency to the
we
(of
may
superinduce.
it
clearly
would
which we possess
too
often
if
we
bringing
about
combinations of
stimuli
The reader
will
elsewhere
how
it is
possible for
130
ESTHETIC PRINCIPLES.
crowd upon
us.
Illustrations here
All of
of
by the power
seems clear to
the
me
that the
as
grace of
suspension-bridge
principally determined
by the
pendent form,
while the strutted extensions of the cantilever bring to us other lines than those in
As
bring
natural
organic
combinations
activities fail
when
we
express by
work
ugly.
wMch
will In
make
NEGATIVE PRINCIPLES.
131
of Niagara,
satis-
factory
cantilever bridge
upon the
river's
seems to
me
its
mission of
gravity.
movements
the laws
of
The same
visible
lines.
principle
may
of
be recognized in
The
figure
relations
the
parts
in
the
human
men
little of
positive
easier
than to pro-
132
ESTHETIC PEINCIPLES.
induced.
delicate
it
Even more
colours.
are the
strange,"
relations of
"Is
not
a lover of
when
is
so easy for us to
combine them in an
"
unsatisfactory
manner ?
This commonplace
doctrine
observation
cussed.
teaches
the
here
dis-
and to
we must go to learn what combinations to make use of in our work of rearrangement, and, if we may so speak, of re-creation. If we break away too far from her guidance, we have our punishment in the
nature's colourings
When we
we
recog-
if,
strikes
NEGATIVE PRINCIPLES.
if
133
the development of a
harmony be broken
prepared to step
by an erroneous chord.
Here we
find
ourselves
away from
nature's
which
if
de-
artificially
formed,
we
may
The
away from
habitual
combinations, produced
racial,
or by
more
influences.
The
related forms
many
generations of
to
to feel
This we
all feel in
objects to
"
134
ESTHETIC PRINCIPLES.
Ionic
tions or with
this is
intercolumniation
and
have
been best related by the long study of successive generations in the past.
of one
The work
him
who
makes
As
the
same
judgment in
dent
is all
art work.
The
critical stu-
artificially,
petty
standards
which
when
work
before him.
It
seems to
me
that
that in repressive
source of ugliness,
we have shown clearly pain we have the main and we are led to the
most important
to avoid
conclusion that
it is
duction of beauty.
NEGATIVE PEINCIPLES.
135
Now
great importance,
principles just dis-
shall find to
erroneously,
think,
as
positive
teachings
of the contraries of
We
pitfalls
plementary opposites.
that
Experience
if
tells
us
we must
avoid not x
;
we
are to produce
a beautiful object
x, therefore, is fixed
upon
what has
that were
basis
we
to start out
from a theoretical
we should
would be to
imitate
we most
to
which go
fact,
it
far
produce
ugliness.
In
136
ESTHETIC PRINCIPLES.
is
and
it
was
we can
upon
many
authorities to look
it is
not
make
it
fundamental
that
it
is
appears to
me
a principle of
and
;
far outside of
it
cannot be found
tive
but that
gives us a posiof
aesthetic
basis
for
the
production
result, I
Our
from
true
principle
here
is
not imitate
must surely
illicit
NEGATIVE PRINCIPLES.
137
some of which
deserve mention.
Freedom from shocks implies avoidance of inharmonious relations ; and perhaps it is not
surprising that the observation of this should
first
most cur-
person that
we
of harmonies, at
all.
which give us no
So,
departure
from
type,
must be eliminated
if
From
this source, it
seems to me,
no egregious
standards,
de-
partures
from
our
typical
no
138
ESTHETIC PRINCIPLES.
unfitness in the object presented, nor
of qualities
marked
any emphases
useless, are
pain.
But
as far as possible
from the
On
the
add
more
covered by
which we
often
been made
Usefulin
se,
an
essential point in
architecture.
more important
not, however,
this
per
but
which
It is
exists to
not improb-
NEGATIVE PKINCIPLES.
able that the superior pleasure obtained
139
from
ancient
works
of
architecture
is
in
some
The
limitations of
human
this
constructed building,
tinct purpose,
made
to serve
some
dis-
skill of
the designer.
To
may add
activities asso-
use,
and these
associative
when
;
is
noticed
the non-aesthetic
aesthetic
and which
is
true, it is not
se.
It seems
much more
140
ESTHETIC PRINCIPLES.
of habit;
for, as is
phenomena
well
known
which have
either
directly
or
associatively.
our contention.
Style, he thinks,
minimum
this is
But surely
con-
mark a good
artist
style
in
works.
me
another
illus-
tration of
my
may
be found in
him, which
makes
its
delights
dependent
this
upon adaptation
adaptation
that
field.
is
is,
to ends.
of
Grace without
unattainable,
course,
but
its
were
correct,
we
KEGATIVE PRINCIPLES.
141
no relation
to fitness
whatever
we
upon "beauty
freedom,"
of
form which
without
and
conflict
of associative worth.
Turning in another
appears
Untruth, in
all
;
the
but
this
avoid untruth!
for
gives
no ground whatever
that the
pre-
should
be
the
With
142
AESTHETIC PRINCIPLES.
natural
action
of
we
ciple of
especially
338 the tics
is
dictum of
architectural
but for
all that,
Here
v^e
may mention
as
the
demand
for
general
another
negative
principle,
Repose per
se will
it,
but without
in
The
building
figure
must be
must
as stable,
the
or
human
" stand
it
upon
its feet,"
be poised in a position
could occupy in
;
but these
may well
of aesthetic
moment.
NEGATIVE PRINCIPLES.
Let
again.
143
me
Growth
a law of nature.
see forms
Everyof
where around us we
which ar^
marked type
sympa-
own
developing selves.
life,
The evidence
of this
verisimilitude of
example, to the
attractiveness
of
the
Northern
Italy.
Musical
fertile in
producing
Music which
is
mechani-
But surely
it
is
expression of growth or of
can be held
some
would have us
effects
believe.
produced
by the
144
iESTHETIC PRINCIPLES.
means
of
impression.
however,
who become accustomed to look for them, they may be demanded when absent,
for the purpose of eliminating a paiaful need,
The
unities
which the
Greeks made so
essential in the
must be
felt
from the
line
of thought in
hearer.
his
That
true
is
shown by the
lessened
demand
in the
felt for
and place
drama
of
modern times
for,
common
NEGATIVE PRINCIPLES.
Let US
145
now
that
is
to
(B)
So important
is this
on
lines in
little
which excesses
difficulty.
may
be shunned with
artist
begins to tire us
from
its
must
trol, so
that
we may
for
the
mood
is
There
of
making it
non-sesthetic for us
it
than
are
by compelling attention to
weary
when we
146
ESTHETIC PRINCIPLES.
tlie
teacher of
As we have
sive
we tend
automatiof
cally to
attention.
shifting
attention
to be-
come
reflex
speedily painful
effort
towards
avoidance,
they are,
strictly
speaking,
impossible
under normal
of a cultivated
artifice of
conditions, except
habit,
by means
go the
is
held in associative
As avoidance
has dealt
re-
which
NEGATIVE PRINCIPLES.
147
only to be missed by
much
is
prevision.
taken for
This
is
adopting a
mean between
ex-
tremes.
of
pain
as
a whole,
we may
"the
at
we have done
It
is
by
this
broad back-
give
many
we
some
make
work
arouses
hope for
of
is
that
it
possible
It
is
painfulness.
this
in
direction
that
the
science
148
of
cBsthetics
ESTHETIC PRINCIPLES.
will
always produce
Its
its
most
valuable
effects.
work
for
art
must
If
teach us
principles
it
is
to
enable the artist of our time to avoid carelessly putting out effort in directions
opposed
to these principles
nized have
If
it
guided
of
the
it is
artist deals,
may
in vain
manner contrary
tions of bone
The
the physical
from
his
this source of
knowledge he
may
create
ideal
dissatisfactions
false ana-
NEGATIVE PRINCIPLES.
rors, into
149
enthu-
wMch
he miglit
fall in his
siastic concentration
his ideal.
Science
in
truth
must always
leads,
follow
in
whatever
all
developed;
but for
that,
science
has
most valuable
art.
function
to
perform in relation to
The
us to
is
importance of
this
elimination
of
make
will be
acknowledged when
interest
it
in
the
work
work.
will
may
very
the
easily blind
one to
many
elements in
they
become
effective
to cast the
work out
upon
us.
All
men
maxim
nations
artistic
here
and
it
is
to a great
ugliness
of
excellence
On
150
general
ESTHETIC PRINCIPLES.
lines
the
sifted
out
or allowed
to
fall into
the background as
time
tiful
has
passed,
left
has been
felt
has
been
to
change.
Most
of us are
wont thoughtlessly
to look
But
it
is
to
the
student
that
those
splendid
many
tion
had
built
felt
had
and
materials
and workmanship, or
forces
of
the
more
com-
actively destructive
pelled.
nature,
it
possible
dis-
to eliminate
shadow depth.
In the
final
we
see
NEGATIVE PEINCIPLES.
151
attainment
of
beauty,
mainly
successful
The
growth
better
of Gothic forms, of
which we have
knowledge,
tells
the
same
;
story of
of
renewed
made
work
unsatisfactory
untU we
it
expressed the
less unity of
demand
feeling,
of a race impelled
by
and as
its
sand years.
Too great
experiment
difficulty of
applying eliminative
may
bar to development.
The Egyptians,
to
whom
difficulty
152
rials
ESTHETIC PRINCIPLES.
were
less
easily
worked.
TMs
difference
doubtless
we
find
Greece in a relatively short time gaining possession of such a flower of architectural art
as
had
failed to spring
had grown
for
Northern Africa.
no
little
how few
of
we have
art,
little ability to
develop an architectural
face of
The
possibility of
making
elimina-
tions is curtailed
to emphasize fixity.
The
development of music
how the
establishment
NEGATIVE PRIKCIPLES.
of the "orders" in
153
Roman
architecture struck
the
life
thwarts
in
the
lan-
development
euphony
guage.
We
in our
see the
main
own
own homes.
our homes
fill
us, or for
our
be
is
permanently beautiful.
We may
able to have a
all.
Still
gem we may
lies
avoid
"shocks," and in
of the
that avoidance
cultivated
much
power of a
mind
in architect or householder.
To
into
this is
the homes of
those whose
culture
is
people
to
to
The
are
inhabitants
learn
brush
lines
The inharmonious
the
forms
covered;
harmonious
154
ESTHETIC PRINCIPLES.
;
and in
such,
tell.
where the
per-
medium
manent
aside
material,
it is difl&cult
to realize
how
cast
worth, has
been
lost.
difficult
did
we not
far
realize
in the
main not
removed
tion
day.
pictures preserved
We
all
we
cious
places of
NEGATIVE PEINCIPLES.
safety, while all else
155
elimi-
might readily be
It
is
of
an unpainful background
suflBce
Not
move beyond
ever,
This
ence,
we may as we all
may
be avoided only
Pain,
and pleasure.
we have
artist.
by
is,
the
The attainment
of
pleasure
step
away from
indifference in a
we
are there-
we
CHAPTER
VI.
H.
ALGEDONIC -ESTHETICS.
In
tlie
we
artist
words of our
the
the
aesthetic theory,
must look
for
to
he relatively permanent.
production of pleasure
itself,
before consider-
POSITIVE PRINCIPLES.
157
I.
ure.
We
practically produced in
also with our pleasures cally produced in
so
it is
quently
classes.
naturally
two
great
We
have,
arise
strain,
with
relief
from
pain
connec-
The pleasures
under the
by
distinct methods.
Unquestionably, use
made of them in the arts that deal with phenomena of succession. It is no slight pleasure, for instance, that we obtain in music
158
ESTHETIC PRINCIPLES.
restful
move-
train of intense
and
so inseparably connected
We may
rela-
pleasure
is
which
is
consciousness that
is
Now
and
if
means by which
this
may
be brought about,
POSITIVE PRINCIPLES.
159
dently
may be
but
it is
them
in isolation.
First,
we
ele-
arisen in consciousness,
does appear;
and
rested
will
when
easily
does act.
Examples
of
this
will
daily
who has ordinarily been a companion, but who has been away from
160
ESTHETIC PEINCIPLES.
principle of aesthetics here presented
The
is
Contrast in any
the
action
of
moin
ments.
Gradations
in
sense
effect
or
tres of activity.
dations
it
involves
action of
organs,
when
is
stimulated.
That contrast
is
indeed,
it is
e.g.,
an
essential
to
all
beauty.
But our
pleasure can be
POSITIVE PRINCIPLES.
161
we
For
prin-
ciple
is
of
and a
It
must be
noted,
however, that
ef-
and,
they
must
refer
in
later
general
be
avoided.
To
let
this
we
under the
consideration of permanency.
Now
When
pre-
shall
have
it
organ's
stored
force
is
surplus
energy
has
been
up
in this latter
and
this
surplus
162
called out
ESTHETIC PRINCIPLES.
when
in
We
we
form of pleasure
last
chapter, where
it is
permis-
effects, for
the inhibitions
we now speak of. We there pains may be allowed, because an index of the fact that we
of
highest pleasure-
which
will appear
when
As we then
said,
"Dependent
as
such
transformations from
we
practical exemplifications of
them
in arts that
phenomena
literature.
of succession,
in music
and in
In music we
POSITIVE PRINCIPLES.
of painfulness.
163
and
finally reached."
The
arise,
principle
under
discussion
direction.
becomes
If
important in
another
there
of
another, trains
of
we
have a condition of
artificial inhibition
which
whenever the
seems to me,
is
In what
is
we
means
of
of pleasure produc-
tion,
although
is
much
cases
in
the lines of
more
164
ESTHETIC PRINCIPLES.
effects;
i.e.,
hypemorpresently
mal
stimulation,
which we
shall
discuss
more fuUy.
this sub-
but I think
it
made
the
movement
in
what
it
is
usually
and
seems to
me
at-
that
it
serves
tions of
the
weU many
thinkers
this
who have
state.
tempted analysis of
mental
Those
and expectation
of important
outcome
when
is
per-
enjoyment
POSITIVE PRINCIPLES.
165
we
receive
when we
as
when a man's
such transieffort
hat
is
to others
will produce
greater
as
are
and
and
to
them
surely the
word "ludicrous"
seems to
cannot be applied.
tell
Introspection
in the
two
We
we
occasionally speak
I
am
fuller
"ludicrous"
has
166
ESTHETIC PRINCIPLES.
Kant
describes
as
"the
And now
proper.
The
wit,
properly
speaking, plays
when
it
may
be supposed
he
The stimulation
of
is
followed by
activity
which
sur-
and expands
its
plus
laughter.
The more
POSITIVE PRINCIPLES.
tial if
167
all
those organs
in
children.
My
little
was meant by
word
indicated a
some day;
my
geometry,
She oblis-
For the
had brought
many
metrical forms
other
when
168
ESTHETIC PRINCIPLES.
who
The clown
perdis-
chance
may
may
may
may
upon the
designed to
appear.
which
Further, there
is
the
may
much
to
change of thought
ful
will produce a
shock power-
overbalance the
pleasure led
up
to.
We
all realize
how
dan-
gerous
it
is
which
may
means
of
pleasure attainment
is
POSITIVE PEINCIPLES.
169
sur-
by unusually powerful
efl&cient
activity of normally
organs.
is
Vividness of impression
a well-recognized
result
means
tinctly,
of producing
aesthetic
in
its
cruder form.
dis-
Vivid
all
mon tools
But we here
we have
seen,
is
and
must be
of a very
ephemeral character.
is
The
if
the
unusually
vigorous
continues pain
must
result.
So
it
means
not prominent.
170
ESTHETIC PRINCIPLES.
tion
by varied means
same
activities at
stimulation.
The
mony"
which
is
importance in
the existence of
by high
authorities, it
would be unnecessary
al-
though wide in
its
bearings,
it
cannot be uniFechner,
who
certainly
makes as much
of the
"imity
of the manifold
"as
is
legitimate, acknowl-
it
is
We are
POSITIVE PBINCIPLES.
171
On
peal to us in
we
more than
can
usually appears,
produce.
The
of
a spe-
cial instance,
none the
As Mr.
mind
is
always an
and again,
"The
feeling of satisfaction
which accompa-
complex
arises
from the
identification of this
field
of
the
172
ESTHETIC PRINCIPLES.
aesthetics,
"higher"
i.e.,
of
that
which
play of
mood and
this
means
tant.
of pleasure production is
most impor-
On
by
it
must be granted
is
reached
tions, but, as it
How
is
then
our
permanency be reached,
II.
We
(1st)
that vividness
impression
is
an impor-
any one
is
set of
elements
is
a necessity
clear (3d)
pain
to be avoided.
But
it is
POSITIVE PRINCIPLES.
about
those
conditions where absence
173
of
make
then,
it
pleasurable
when
if
it
appears.
is
permanent
pleasure-field
we may be allowed
must
shift
is
im-
portant in our
focus
this
field of consciousness,
but this
shifting
itself
new means
of
pleasure-getting.
In general, therefore,
we
may
Let us
Width of
direction
Field.
Pleasure
we
is
in
any
one
the
being
essentially
ephemeral,
permanence of pleasure
by having open
change the
As we have already
states should be non-
of our
complex mental
174
painful
;
ESTHETIC PKINCIPLES.
it
that
many
of
the
complex are
This
are
is
capable
developing
pleasure.
important not
only because
we
thus
a multiplicity of
becomes
possible.
he
views his
"
is
groups
of
together
as
large
a number
of
means
pleasurable
without
conflict.
He
same time
men.
tion,
arts of ear
and
sight,
and those
activities of
The
difiiculty
is
however,
may add
POSITIVE PRINCIPLES.
thing to the pleasures given.
disdain
if
175
does not
He
likely to pall,
he
is
The suggestion
avoids
of sense pleasures he
uses, but
the
actual
sense
stimulus
may
lead to excess or
He
aims to
It is this direction of
effort
to call for
an incomplewhich
imagination
its
in
to
work
a
for
expansive
We
an avoidance of
type portrayal.
to stir
strictness
of
realism
for
The
artist,
moreover, aims
of pyschic
life,
He
176
as
ESTHETIC PRINCIPLES.
the
essential
;
characteristic
of
sestlietic
pleasure
which works
connected with
effects
it,
in
all
mental regions
small intensity,
is
effects of so
of
it
The
artist
of admiration
own
skill;
for
though
is
for a few,
and
his
this
means
is
but a
that
much
the more
Breadth of
foci implies
it is
important for
The
in
recognition of
the existence
of
field
the percipient lacking in definiteness of attention has, indeed, not infrequently led to
too
little
POSITIVE PRINCIPLES.
177
These
latter,
however, do, in
fact,
make up a
and
others,
Guyau,
dis-
do not
in
fail
to in
his
recognize
his zeal
tinctly.
Guyau,
fact,
to
force
the
recognition
of
view,
makes
side,
Any work
of art
which tends to
raise
marked attention
that
A work
of art, in
which the
is
still
The power
N
of music
is
178
ESTHETIC PRINCIPLES.
its indefiniteness, its
by
" dreaminess," as
we
call it;
and
it
seems to
me
widen the
field of
pleasure
consideration.
In such
very great.
An
power
will not
of
fulness.
Now
self
effects
In the im-
arately emphatic
dis-
an intrusion.
The
his
operas
POSITIVE PEINCIPLES.
shows,
is
179
"plot interest"
as a detriment to the
fatal to
assthetic recepis
and
true,
although
am
what
width of
field
is
by the
largely
To
who knows
must be
over-familiar,
his
although,
perhaps,
less
communication of
well equipped
pleasure,
field,
thought to others
may
in
their
by
But width
it
180
ESTHETIC PRINCIPLES.
lines of
upon
this
pain-giving.
An
example of
nection,
where
the
animus of
the
describer
or
The
of
aesthetic
state
of
mind,
although
this.
To
must
exist decided
less lightly
more or
field.
To the
turn.
consideration
we now
In AmieVs Journal,
:
is
diffused
and
is
indistinct,
need
and order
means, in the
POSITIVE PRINCIPLES.
181
Beauty
is
based on reason."
Although we
views
help
rationalistic
we cannot
but merely a
It
field of
moderate
becomes "sweet,"
It
was probably
some
definite object,
and
Volkmann
to
separate
the
art
field
from
ground that
merely hedonic
field of aesthetics.
For Volk-
mann
is
this definiteness,
art
of
the
ancients showed
highest superiority.
its
But
if
art
force of attention,
points
of
all
intenser
are
points
of
danger;
more
and the
shifting
182
of
ESTHETIC PRINCIPLES.
these centres of interest
is
of
I
as great
think
we
principles.
First,
we may expect
to find
means adopted
by
indifference
occurs,
moment when
content
is
again possible.
Because
processes
of
nutrition
are
rela-
it
thus
the rhythm
POSITIVE PRINCIPLES.
rate
183
tools of
The power
of
and the
by the reader
special example.
same
field,
from
field
we
of variety.
Monotony
If
of stimulations
gives
us
first
indifference
positive
pains of fatigue.
sciousness
elements of con-
we have an added
Variety,
however, like
is
all
the means of
carried
is
pleasure stimulation,
likely to be
too far.
184
trouble
ESTHETIC PRINCIPLES.
we attempt
to correct,
by making
pain-
An
visit
example
of this
we may
all recall in
to
some
We
often
find people
this true in
it is
simple.
The
from the
tion.
Where
POSITIVE PRINCIPLES.
185
cannot use
what we
these
call
the picturesque.
We
means
we
away from
their
stimulation as soon as
we begin
to be weary.
Hence, we should avoid the use of the picturesque in our homes, and should deal most
carefully with strong contrasts in the decora-
tion of
rooms
in
which we wish to
is
live,
or in
compelled to view
On
means
the whole,
it
of producing
if
will be reached
we
naturally led up to
:
or to put this
will gain our
we
impres-
best
and
by the
asso-
ciative nutrition
may so
speak) connected
activities.
From
this
we may argue
to a wide aesthetic
law, which
may
186
ESTHETIC PRINCIPLES.
a
all
legit-
touched upon, as
such
movements
That
be expectation phases
this canon,
is
which
are
fulfilled.
application,
ics
is
apparent
when we
made up
questioned
way
or another.
In general, then,
artist is
it
one
who
is
able to
make
use of the
Having avoided
field of
pains,
non-
summation
of pleas-
urable elements.
POSITIVE PRINCIPLES.
187
is
marks
work a
distinctive character.
I have already
named
Wagner
tion; but
this:
effect
to concentrate itself
upon
details,
we
there find a
gem
;
of melody,
and
if
we
of
we
are
still
thrilled
with
details are
not
marked development
speare's wonderful
of
the work.
Shake-
from one
tion
is
to the other
of
188
ESTHETIC PRINCIPLES.
is felt
apart from
His genius
manifests
itself
them
is
allowed to
to
great importance
of the
mar
the general
movement
drama,
or to detract
acter
whose action
The
man-
revi-
a wide
field of
more marked
pleas-
of interest shifts,
our recurrence.
It
must be apparent
to
my
reader that
if
capacity to produce
pleasure be
relative
permanency
of
determined by this
shifting of
POSITIVE PRINCIPLES.
189
and on
my view, the
arts of literature
must be held
influential as civil-
ization advances.
In the
first
observer
we
studied
to
fourth chapter
we
when we assume
we
different
and as observers.
190
ESTHETIC PEINCIPLES.
artists the
As
tlie
investigations
reference
to
aesthetic
make
for us,
must
wUl help
for
iu
the
search
The experience
its failures
in certain
we
can-
and
science
we may
hope,
teaching us by more
hand
the pitfalls
is
into
enthusiasm
liable to lead
The
much
we have
seen,
he must
him
expression;
so that
practice
even these
positive principles
must come
to be used
by him negatively
and
as
When we become
observers
critics,
POSITIVE PRINCIPLES.
191
more equal
to ask
in value for
us
and
I wish
now
my
reader in
closing to take
of a practical
and negative
aesthetic principles,
and which
aesthetic
has to deal.
The study
of the
development of
aesthetics
to
well-understood
constructional
but
of,
the
constructional
methods
there
could be no architecture.
sideration
of
these
architecture
fine
192
ESTHETIC PRINCIPLES.
of
Now what
indi-
We
are
what
we
of the
that
if
artist
e.g.,
as a decorator.
it is
must never be
merely his tool,
to be attained
by the
archi-
by any
artist is the
production
POSITIVE PRINCIPLES.
193
Now we
find
men
of structure
is all
teach us that
we
and
re-
who,
to the glories of
power
has
little
values.
we
that structure
He must
done, to
have
know thoroughly
in
he
may
so
be able
to thinh
structural
forms;
that the
may
194
ESTHETIC PRINCIPLES.
struct-
ciple of the
and surely
if
in
his
any
active constructional
distinctly subversive of
From a
is
cultivated
man
it
is
is
will
if
artist
his
emphasis of
the
he
lose
POSITIVE PRINCIPLES.
195
mark
will
his
work
which
Now
features
an opposite
effect,
namely,
such work as
we
find in all
modern
its in-
who
which
tells
shock which
other hand,
decoration
is
if
fatal to beauty.
But on the
of
those forms
structural
make no
of the
modern Renais-
196
iESTHETIC PRINCIPLES.
if
by
may be
in other
can see no
use.
critical objection
whatever to their
said against such
ornament
that in
its
use
we
confess our
to
make us decorators
loss of
and leads to a
deep
architectural conviction.
architect
that
we may not be
expenditure of
oppressed by any
valueless
effort
;
him
to use
unneeded
flesh
where
plain
fluous material
and labour
POSITIVE PKINCIPLES.
197
his tools
architect
must use
if
he be a
genius
may
he must never
the attainment
is
interesting example of
As
we
cast out
all
beyond the
we
work
unses-
thetic because
provided
to
it
overwhelm with
minor
discords.
of loss
when he
work produced by
structural ineffectiveness,
198
detail
AESTHETIC PRINCIPLES.
And
then turn
where
its historic
its
story and
;
unostentatiously speaks of
strength
and
all,
and propor-
bow
the masters
who
THE END.
INDEX.
Absolutes in .S^sthetics, Active pleasures, 19.
9.
1, 12.
Esthetic defined, 1, 4. Beautiful, the, 114. Esthetic field of cultivated Beauty, 2 conception varies, 44 fe. man, 93. Esthetic impression, 31. Benevolent Instincts, 62. Bergmanu, 10. .Esthetic judgment, 31. Esthetic " ought," 92. Bosanquet, 3. .Esthetic responsibility, 91. Burke, 13. .Esthetic separated from He;
donic, 16.
and
Artist, 106.
.fflsthetios,
Chs. V.
Critic's standpoint,
Ch. IV.
Darwin, 49.
DeGufirin, Maurice, 48.
fE.
Amiel, 180.
Architectural structure, 191
Aristotle, 3, 9, 15, 147.
Emerson, 48, 139. Emotional pleasure, 19. Art as racial product, 192 f. Emotions, 68 S. Art defined, 4. Art Instinct, 62 disinterested, Emotions as determining Beauty, 13. 67 ; common to all men, 69. Emotions defined, 35. Artist and Critic, 73 f
Arnold, Matthew, 48.
;
4.
future development
147.
of,
Avoidance of Ugly,
Function of Art,
199
82.
200
Genius, 53.
INDEX.
Objective qualities, search for,
8.
Grace, 140.
I.
.S^sthetics, 92.
of,
Ideal sesthetic
field, 96.
Fermanence
30.
of pleasure, 22 S.,
Idealistic conceptions, 9.
Imagination, 20.
Imitation, 3, 60, 135.
Picturesque, 185.
Flato, 9.
Immediacy,
86.
20.
"Instinct feelings," 56
13.
14.
Pleasure
and
39,
;
Pain,
;
general
qualities,
Irradiation, 176.
tions,
36
elements, 38
36
Kant,
19, 64.
action,
40
relation to or-
Lipps, 19.
Lotze, 10, 19, 174, 181.
"Lower
pleasures," 32.
.^thetic Principles,
Puns, 167.
Mill,
James,
13. 19.
Moral types,
Music, 132.
Puvis de Chavannes,
Relatively
stable
54.
individual
standpoint, 88.
principles,
118
ff.
Hepose, 142.
Rhythm,
182.
INDEX.
Rosenkranz, 127. Eoyce, 95.
Satisfaction
186.
Style, 140.
201
Subjective
12, 14.
ctualities,
search
for,
of
expectancies,
Sublime,
2.
ScMUer,
Summation,
Taine, 95.
23, 43.
Schlegel, 127.
"Self
62.
exhibiting
reactions,"
Sensational
Type
portrayal, 137.
Beauty,
Shakespeare, 102.
Shifting Focus, 180.
9.
Shocks, 128.
Skill, 176.
Variety, 183.
Vividness, 169.
15.
develop-
ment
98.
of,
102
relativity of,
Stoics, 64.
Width Width
Wundt,
94.
Pain,
8to.
83.00.
PRESS.
" The chapters on aesthetics and the author's views are interesting, but lack of space forbids their being fully noticed here. It is a thoroughly scientific
our readers
psychological work, that as alienists, and therefore psychologists, may profitably study." American Journal of Imaniiy.
" Mr, Marshall has long been known as an original thinker in the field which he has chosen for interpretation so that this volume which he now presents, and which has been looked for for some time, deserves the best attention, not alone of Simon-pure psychologists, but of physicians, and especially neurologists." jfournal of Nervous and Menial
;
Disease.
" There can be no question as to the acuteness, the research, and the philosophical grasp of this writer. No subsequent worker in this field can afford to disregard what has been brought out in this book and even if some of the author's views shall be shown to require modification, his treatise will remain an admirable example of what a scientific work should be." The Independent.
;
" It
may well be
is
of all yet published attempts to conceive our pleasures and displeasures under something like a single point of view. ... No previous writer has given a general formula which covers anything like the same amount of ground. Acquaintance with Mr. Marshall's work will be indispensable to every future student of the subject. His own learning is admirably complete we cannot name any modern author of consequence of whose writings he has not taken account. The modesty of his tone is also remarkable, considering that his mental temperament is radical,' and that he is fighting for a creation of his own. Apart firom its special topic, too, the book is full of shrewd and original psychology. All these qualities render it almost epoch-making in the present situation of science," Prof. William James, in The Nation.
; ' '
'
NEW
YOEK.