The sense of beauty being the outlines of aesthetic theory



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The Sense of Beauty

Produced by Ruth Hart

[Note: for this online edition I have moved the Table of Contents to the beginning of the text and slightly modified it to conform with the online format. I have also made one spelling change: "ominiscient intelligence" to "omniscient intelligence".]

THE SENSE OF BEAUTY

BEING THE OUTLINES OF AESTHETIC THEORY

by

GEORGE SANTAYANA



CHARLES SCRIBNER'S SONS NEW YORK CHICAGO BOSTON

COPYRIGHT, 1896, BY CHARLES SCRIBNER'S SONS

Printed in the United States of America

CONTENTS


Preface Introduction — The Methods of Aesthetics 1-13

Part I. — The Nature of Beauty § 1. The philosophy of beauty is a theory of values 14 § 2. Preference is ultimately irrational 18 § 3. Contrast between moral and aesthetic values 28 § 4. Work and play 25 § 5. All values are in one sense aesthetic 28 § 6. Aesthetic consecration of general principles 31 § 7. Contrast of aesthetic and physical pleasures 35 § 8. The differentia of aesthetic pleasure not its disinterestedness 37 § 9. The differentia of aesthetic pleasure not its universality 40 § 10. The differential of aesthetic pleasure: its objectification 44 § 11. The definition of beauty 49

Part II. — The Materials of Beauty § 12. All human functions may contribute to the sense of beauty 53 § 13. The influence of the passion of love 56 § 14. Social instincts and their aesthetic influence 62 § 15. The lower senses 65 § 16. Sound 68 § 17. Colour 72 § 18. Materials surveyed 76

Part III. — Form § 19. There is a beauty of form 82 § 20. Physiology of the perception of form 85 § 21. Values of geometrical figures 88 § 22. Symmetry 91 § 23. Form the unity of a manifold 95 § 24. Multiplicity in uniformity 97 § 25. Example of the stars 100 § 26. Defects of pure multiplicity 106 § 27. Aesthetics of democracy 110 § 28. Values of types and values of examples 112 § 29. Origin of types 116 § 30. The average modified in the direction of pleasure 121 § 31. Are all things beautiful? 126 § 32. Effects of indeterminate form 131 § 33. Example of landscape 133 § 34. Extensions to objects usually not regarded aesthetically 138 § 35. Further dangers of indeterminateness 142 § 36. The illusion of infinite perfection 146 § 37. Organized nature the source of apperceptive forms 152 § 38. Utility the principle of organization in nature 155 § 39. The relation of utility to beauty 157 § 40. Utility the principle of organization in the arts 160 § 41. Form and adventitious ornament 163 § 42. Syntactical form 167 § 42. Literary form. The plot 171 § 44. Character as an aesthetic form 174 § 45. Ideal characters 176 § 46. The religious imagination 180 § 47. Preference is ultimately irrational 185

Part IV. — Expression § 48. Expression defined 192 § 49. The associative process 198 § 50. Kinds of value in the second term 201 § 51. Aesthetic value in the second term 205 § 52. Practical value in the same 208 § 53. Cost as an element of effect 211 § 54. The expression of economy and fitness 214 § 55. The authority of morals over aesthetics 218 § 56. Negative values in the second term 221 § 57. Influence of the first term in the pleasing expression of evil 226 § 58. Mixture of other expressions, including that of truth 228 § 59. The liberation of self 233 § 60. The sublime independent of the expression of evil 239 § 61. The comic 245 § 62. Wit 250 § 63. Humour 253 § 64. The grotesque 256 § 65. The possibility of finite perfection 258 § 66. The stability of the ideal 263

§ 67. Conclusion 266-270 Footnotes Index 271-275

PREFACE

This little work contains the chief ideas gathered together for a course of lectures on the theory and history of aesthetics given at Harvard College from 1892 to 1895. The only originality I can claim is that which may result from the attempt to put together the scattered commonplaces of criticism into a system, under the inspiration of a naturalistic psychology. I have studied sincerity rather than novelty, and if any subject, as for instance the excellence of tragedy, is presented in a new light, the change consists only in the stricter application to a complex subject of the principles acknowledged to obtain in our simple judgments. My effort throughout has been to recall those fundamental aesthetic feelings the orderly extension of which yields sanity of judgment and distinction of taste.



The influences under which the book has been written are rather too general and pervasive to admit of specification; yet the student of philosophy will not fail to perceive how much I owe to writers, both living and dead, to whom no honour could be added by my acknowledgments. I have usually omitted any reference to them in foot-notes or in the text, in order that the air of controversy might be avoided, and the reader might be enabled to compare what is said more directly with the reality of his own experience.

G. S. September, 1906.

INTRODUCTION

The sense of beauty has a more important place in life than aesthetic theory has ever taken in philosophy. The plastic arts, with poetry and music, are the most conspicuous monuments of this human interest, because they appeal only to contemplation, and yet have attracted to their service, in all civilized ages, an amount of effort, genius, and honour, little inferior to that given to industry, war, or religion. The fine arts, however, where aesthetic feeling appears almost pure, are by no means the only sphere in which men show their susceptibility to beauty. In all products of human industry we notice the keenness with which the eye is attracted to the mere appearance of things: great sacrifices of time and labour are made to it in the most vulgar manufactures; nor does man select his dwelling, his clothes, or his companions without reference to their effect on his aesthetic senses. Of late we have even learned that the forms of many animals are due to the survival by sexual selection of the colours and forms most attractive to the eye. There must therefore be in our nature a very radical and wide-spread tendency to observe beauty, and to value it. No account of the principles of the mind can be at all adequate that passes over so conspicuous a faculty.

That aesthetic theory has received so little attention from the world is not due to the unimportance of the subject of which it treats, but rather to lack of an adequate motive for speculating upon it, and to the small success of the occasional efforts to deal with it. Absolute curiosity, and love of comprehension for its own sake, are not passions we have much leisure to indulge: they require not only freedom from affairs but, what is more rare, freedom from prepossessions and from the hatred of all ideas that do not make for the habitual goal of our thought.

Now, what has chiefly maintained such speculation as the world has seen has been either theological passion or practical use. All we find, for example, written about beauty may be divided into two groups: that group of writings in which philosophers have interpreted aesthetic facts in the light of their metaphysical principles, and made of their theory of taste a corollary or footnote to their systems; and that group in which artists and critics have ventured into philosophic ground, by generalizing somewhat the maxims of the craft or the comments of the sensitive observer. A treatment of the subject at once direct and theoretic has been very rare: the problems of nature and morals have attracted the reasoners, and the description and creation of beauty have absorbed the artists; between the two reflection upon aesthetic experience has remained abortive or incoherent.

A circumstance that has also contributed to the absence or to the failure of aesthetic speculation is the subjectivity of the phenomenon with which it deals. Man has a prejudice against himself: anything which is a product of his mind seems to him to be unreal or comparatively insignificant. We are satisfied only when we fancy ourselves surrounded by objects and laws independent of our nature. The ancients long speculated about the constitution of the universe before they became aware of that mind which is the instrument of all speculation. The moderns, also, even within the field of psychology, have studied first the function of perception and the theory of knowledge, by which we seem to be informed about external things; they have in comparison neglected the exclusively subjective and human department of imagination and emotion. We have still to recognize in practice the truth that from these despised feelings of ours the great world of perception derives all its value, if not also its existence. Things are interesting because we care about them, and important because we need them. Had our perceptions no connexion with our pleasures, we should soon close our eyes on this world; if our intelligence were of no service to our passions, we should come to doubt, in the lazy freedom of reverie, whether two and two make four.

Yet so strong is the popular sense of the unworthiness and insignificance of things purely emotional, that those who have taken moral problems to heart and felt their dignity have often been led into attempts to discover some external right and beauty of which, our moral and aesthetic feelings should be perceptions or discoveries, just as our intellectual activity is, in men's opinion, a perception or discovery of external fact. These philosophers seem to feel that unless moral and aesthetic judgments are expressions of objective truth, and not merely expressions of human nature, they stand condemned of hopeless triviality. A judgment is not trivial, however, because it rests on human feelings; on the contrary, triviality consists in abstraction from human interests; only those judgments and opinions are truly insignificant which wander beyond the reach of verification, and have no function in the ordering and enriching of life.

Both ethics and aesthetics have suffered much from the prejudice against the subjective. They have not suffered more because both have a subject-matter which is partly objective. Ethics deals with conduct as much as with emotion, and therefore considers the causes of events and their consequences as well as our judgments of their value. Esthetics also is apt to include the history and philosophy of art, and to add much descriptive and critical matter to the theory of our susceptibility to beauty. A certain confusion is thereby introduced into these inquiries, but at the same time the discussion is enlivened by excursions into neighbouring provinces, perhaps more interesting to the general reader.

We may, however, distinguish three distinct elements of ethics and aesthetics, and three different ways of approaching the subject. The first is the exercise of the moral or aesthetic faculty itself, the actual pronouncing of judgment and giving of praise, blame, and precept. This is not a matter of science but of character, enthusiasm, niceness of perception, and fineness of emotion. It is aesthetic or moral activity, while ethics and aesthetics, as sciences, are intellectual activities, having that aesthetic or moral activity for their subject-matter.

The second method consists in the historical explanation of conduct or of art as a part of anthropology, and seeks to discover the conditions of various types of character, forms of polity, conceptions of justice, and schools of criticism and of art. Of this nature is a great deal of what has been written on aesthetics. The philosophy of art has often proved a more tempting subject than the psychology of taste, especially to minds which were not so much fascinated by beauty itself as by the curious problem of the artistic instinct in man and of the diversity of its manifestations in history.

The third method in ethics and aesthetics is psychological, as the other two are respectively didactic and historical. It deals with moral and aesthetic judgments as phenomena of mind and products of mental evolution. The problem here is to understand the origin and conditions of these feelings and their relation to the rest of our economy. Such an inquiry, if pursued successfully, would yield an understanding of the reason why we think anything right or beautiful, wrong or ugly, it would thus reveal the roots of conscience and taste in human nature and enable us to distinguish transitory preferences and ideals, which rest on peculiar conditions, from those which, springing from those elements of mind which all men share, are comparatively permanent and universal.

To this inquiry, as far as it concerns aesthetics, the following pages are devoted. No attempt will be made either to impose particular appreciations or to trace the history of art and criticism. The discussion will be limited to the nature and elements of our aesthetic judgments. It is a theoretical inquiry and has no directly hortatory quality. Yet insight into the basis of our preferences, if it could be gained, would not fail to have a good and purifying influence upon them. It would show us the futility of a dogmatism that would impose upon another man judgments and emotions for which the needed soil is lacking in his constitution and experience; and at the same time it would relieve us of any undue diffidence or excessive tolerance towards aberrations of taste, when we know what are the broader grounds of preference and the habits that make for greater and more diversified aesthetic enjoyment.

Therefore, although nothing has commonly been less attractive than treatises on beauty or less a guide to taste than disquisitions upon it, we may yet hope for some not merely theoretical gain from these studies. They have remained so often without practical influence because they have been pursued under unfavourable conditions. The writers have generally been audacious metaphysicians and somewhat incompetent critics; they have represented general and obscure principles, suggested by other parts of their philosophy, as the conditions of artistic excellence and the essence of beauty. But if the inquiry is kept close to the facts of feeling, we may hope that the resulting theory may have a clarifying effect on the experience on which it is based. That is, after all, the use of theory. If when a theory is bad it narrows our capacity for observation and makes all appreciation vicarious and formal, when it is good it reacts favourably upon our powers, guides the attention to what is really capable of affording entertainment, and increases, by force of new analogies, the range of our interests. Speculation is an evil if it imposes a foreign organization on our mental life; it is a good if it only brings to light, and makes more perfect by training, the organization already inherent in it.

We shall therefore study human sensibility itself and our actual feelings about beauty, and we shall look for no deeper, unconscious causes of our aesthetic consciousness. Such value as belongs to metaphysical derivations of the nature of the beautiful, comes to them not because they explain our primary feelings, which they cannot do, but because they express, and in fact constitute, some of our later appreciations. There is no explanation, for instance, in calling beauty an adumbration of divine attributes. Such a relation, if it were actual, would not help us at all to understand why the symbols of divinity pleased. But in certain moments of contemplation, when much emotional experience lies behind us, and we have reached very general ideas both of nature and of life, our delight in any particular object may consist in nothing but the thought that this object is a manifestation of universal principles. The blue sky may come to please chiefly because it seems the image of a serene conscience, or of the eternal youth and purity of nature after a thousand partial corruptions. But this expressiveness of the sky is due to certain qualities of the sensation, which bind it to all things happy and pure, and, in a mind in which the essence of purity and happiness is embodied in an idea of God, bind it also to that idea.

So it may happen that the most arbitrary and unreal theories, which must be rejected as general explanations of aesthetic life, may be reinstated as particular moments of it. Those intuitions which we call Platonic are seldom scientific, they seldom explain the phenomena or hit upon the actual law of things, but they are often the highest expression of that activity which they fail to make comprehensible. The adoring lover cannot understand the natural history of love; for he is all in all at the last and supreme stage of its development. Hence the world has always been puzzled in its judgment of the Platonists; their theories are so extravagant, yet their wisdom seems so great. Platonism is a very refined and beautiful expression of our natural instincts, it embodies conscience and utters our inmost hopes. Platonic philosophers have therefore a natural authority, as standing on heights to which the vulgar cannot attain, but to which they naturally and half-consciously aspire.

When a man tells you that beauty is the manifestation of God to the senses, you wish you might understand him, you grope for a deep truth in his obscurity, you honour him for his elevation of mind, and your respect may even induce you to assent to what he says as to an intelligible proposition. Your thought may in consequence be dominated ever after by a verbal dogma, around which all your sympathies and antipathies will quickly gather, and the less you have penetrated the original sense of your creed, the more absolutely will you believe it. You will have followed Mephistopheles' advice: --

Im ganzen haltet euch an Worte, So geht euch durch die sichere Pforte Zum Tempel der Gewissheit ein.

Yet reflection might have shown you that the word of the master held no objective account of the nature and origin of beauty, but was the vague expression of his highly complex emotions.

It is one of the attributes of God, one of the perfections which we contemplate in our idea of him, that there is no duality or opposition between his will and his vision, between the impulses of his nature and the events of his life. This is what we commonly designate as omnipotence and creation. Now, in the contemplation of beauty, our faculties of perception have the same perfection: it is indeed from the experience of beauty and happiness, from the occasional harmony between our nature and our environment, that we draw our conception of the divine life. There is, then, a real propriety in calling beauty a manifestation of God to the senses, since, in the region of sense, the perception of beauty exemplifies that adequacy and perfection which in general we objectify in an idea of God.

But the minds that dwell in the atmosphere of these analogies are hardly those that will care to ask what are the conditions and the varieties of this perfection of function, in other words, how it comes about that we perceive beauty at all, or have any inkling of divinity. Only the other philosophers, those that wallow in Epicurus' sty, know anything about the latter question. But it is easier to be impressed than to be instructed, and the public is very ready to believe that where there is noble language not without obscurity there must be profound knowledge. We should distinguish, however, the two distinct demands in the case. One is for comprehension; we look for the theory of a human function which must cover all possible cases of its exercise, whether noble or base. This the Platonists utterly fail to give us. The other demand is for inspiration; we wish to be nourished by the maxims and confessions of an exalted mind, in whom the aesthetic function is pre-eminent. By responding to this demand the same thinkers may win our admiration.

To feel beauty is a better thing than to understand how we come to feel it. To have imagination and taste, to love the best, to be carried by the contemplation of nature to a vivid faith in the ideal, all this is more, a great deal more, than any science can hope to be. The poets and philosophers who express this aesthetic experience and stimulate the same function in us by their example, do a greater service to mankind and deserve higher honour than the discoverers of historical truth. Reflection is indeed a part of life, but the last part. Its specific value consists in the satisfaction of curiosity, in the smoothing out and explanation of things: but the greatest pleasure which we actually get from reflection is borrowed from the experience on which we reflect. We do not often indulge in retrospect for the sake of a scientific knowledge of human life, but rather to revive the memories of what once was dear. And I should have little hope of interesting the reader in the present analyses, did I not rely on the attractions of a subject associated with so many of his pleasures.

But the recognition of the superiority of aesthetics in experience to aesthetics in theory ought not to make us accept as an explanation of aesthetic feeling what is in truth only an expression of it. When Plato tells us of the eternal ideas in conformity to which all excellence consists, he is making himself the spokesman of the moral consciousness. Our conscience and taste establish these ideals; to make a judgment is virtually to establish an ideal, and all ideals are absolute and eternal for the judgment that involves them, because in finding and declaring a thing good or beautiful, our sentence is categorical, and the standard evoked by our judgment is for that case intrinsic and ultimate. But at the next moment, when the mind is on another footing, a new ideal is evoked, no less absolute for the present judgment than the old ideal was for the previous one. If we are then expressing our feeling and confessing what happens to us when we judge, we shall be quite right in saying that we have always an absolute ideal before us, and that value lies in conformity with that ideal. So, also, if we try to define that ideal, we shall hardly be able to say of it anything less noble and more definite than that it is the embodiment of an infinite good. For it is that incommunicable and illusive excellence that haunts every beautiful thing, and

like a star Beacons from the abode where the eternal are.

For the expression of this experience we should go to the poets, to the more inspired critics, and best of all to the immortal parables of Plato. But if what we desire is to increase our knowledge rather than to cultivate our sensibility, we should do well to close all those delightful books; for we shall not find any instruction there upon the questions which most press upon us; namely, how an ideal is formed in the mind, how a given object is compared with it, what is the common element in all beautiful things, and what the substance of the absolute ideal in which all ideals tend to be lost; and, finally, how we come to be sensitive to beauty at all, or to value it. These questions must be capable of answers, if any science of human nature is really possible. -- So far, then, are we from ignoring the insight of the Platonists, that we hope to explain it, and in a sense to justify it, by showing that it is the natural and sometimes the supreme expression of the common principles of our nature.

PART I


THE NATURE OF BEAUTY

The philosophy of beauty is a theory of values.

§ 1. It would be easy to find a definition of beauty that should give in a few words a telling paraphrase of the word. We know on excellent authority that beauty is truth, that it is the expression of the ideal, the symbol of divine perfection, and the sensible manifestation of the good. A litany of these titles of honour might easily be compiled, and repeated in praise of our divinity. Such phrases stimulate thought and give us a momentary pleasure, but they hardly bring any permanent enlightenment. A definition that should really define must be nothing less than the exposition of the origin, place, and elements of beauty as an object of human experience. We must learn from it, as far as possible, why, when, and how beauty appears, what conditions an object must fulfil to be beautiful, what elements of our nature make us sensible of beauty, and what the relation is between the constitution of the object and the excitement of our susceptibility. Nothing less will really define beauty or make us understand what aesthetic appreciation is. The definition of beauty in this sense will be the task of this whole book, a task that can be only very imperfectly accomplished within its limits.

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