§ 115.

(2) In the last paragraph I have pointed out the two facts, that the presence of some emotion is necessary to give any very high value to a state of aesthetic appreciation, and that, on the other hand, this same emotion, in itself, may have little or no value: it follows that these emotions give to the wholes of which they form a part a value far greater than that which they themselves possess. The same is obviously true of the cognitive element which must be combined with these emotions in order to form these highly valuable wholes; and the present paragraph will attempt to define what is meant by this cognitive element, so far as to guard against a possible misunderstanding. When we talk of seeing a beautiful object, or, more generally, of the cognition or consciousness of a beautiful object, we may mean by these expressions something which forms no part of any valuable whole. There is an ambiguity in the use of the term object, which has probably been responsible for as many enormous errors in philosophy and psychology as any other single cause. This ambiguity may easily be detected by considering the proposition, which, though a contradiction in terms, is obviously true: That when a man sees a beautiful picture, he may see nothing beautiful whatever. The ambiguity consists in the fact that, by the object of vision (or cognition), may be meant either the qualities actually seen or all the qualities possessed by the thing seen. Thus in our case: when it is said that the picture is beautiful, it is meant that it contains qualities which are beautiful; when it is said that the man sees the picture, it is meant that he sees a great number of the qualities contained in the picture; and when it is said that, nevertheless, he sees nothing beautiful, it is meant that he does not see those qualities of the picture which are beautiful. When, therefore, I speak of the cognition of a beautiful object, as an essential element in a valuable aesthetic appreciation, I must be understood to mean only the cognition of the beautiful qualities possessed by that object, and not the cognition of other qualities of the object possessing them. And this distinction must itself be carefully distinguished from the other distinction expressed above by the distinct terms seeing the beauty of a thing and seeing its beautiful qualities. By seeing the beauty of a thing we commonly mean the having an emotion towards its beautiful qualities; whereas in the seeing of its beautiful qualities we do not include any emotion. By the cognitive element, which is equally necessary with emotions to the existence of a valuable appreciation, I mean merely the actual cognition or consciousness of any or all of an object’s beautiful qualities—that is to say, any or all of those elements in the object which possess any positive beauty. That such a cognitive element is essential to a valuable whole may be easily seen, by asking: What value should we attribute to the proper emotion excited by hearing Beethoven’s Fifth Symphony, if that emotion were entirely unaccompanied by any consciousness, either of the notes, or of the melodic and harmonic relations between them? And that the mere hearing of the Symphony, even accompanied by the appropriate emotion, is not sufficient, may be easily seen, if we consider what would be the state of a man, who should hear all the notes, but should not be aware of any of those melodic and harmonic relations, which are necessary to constitute the smallest beautiful elements in the Symphony. (§ 115 ¶ 1)