Chapter VI: The Ideal.
§ 114.
I. I propose to begin by examining what I have called aesthetic enjoyments, since the case of personal affections presents some additional complications. It is, I think, universally admitted that the proper appreciation of a beautiful object is a good thing in itself; and my question is: What are the main elements included in such an appreciation? (§ 114 ¶ 1)
(1) It is plain that in those instances of aesthetic appreciation, which we think most valuable, there is included, not merely a bare cognition of what is beautiful in the object, but also some kind of feeling or emotion. It is not sufficient that a man should merely see the beautiful qualities in a picture and know that they are beautiful, in order that we may give his state of mind the highest praise. We require that he should also appreciation the beauty of that which he sees and which he knows to be beautiful—that he should feel and see its beauty. And by these expressions we certainly mean that he should have an appropriate emotion towards the beautiful qualities which he cognises. It is perhaps the case that all aesthetic emotions have some common quality; but it is certain that differences in the emotion seem to be appropriate to differences in the kind of beauty perceived: and by saying that different emotions are appropriate to different kinds of beauty, we mean that the whole which is formed by the consciousness of that kind of beauty together with the emotion appropriate to it, is better than if any other emotion had been felt in contemplating that particular beautiful object. Accordingly we have a large variety of different emotions, each of which is a necessary constituent in some state of consciousness which we judge to be good. All of these emotions are essential elements in great positive goods; they are parts of organic wholes, which have great intrinsic value. But it is important to observe that these wholes are organic, and that, hence, it does not follow that the emotion, by itself, would have any value whatsoever, nor yet that, if it were directed to a different object, the whole thus formed might not be positively bad. And, in fact, it seems to be the case that if we distinguish the emotional element, in any aesthetic appreciation, from the cognitive element, which accompanies it and is, in fact, commonly thought of as a part of the emotion; and if we consider what value this emotional element would have, existing by itself, we can hardly think that it has any great value, even if it has any at all. Whereas, if the same emotion be directed to a different object, if, for instance, it is felt towards an object that is positively ugly, the whole state of consciousness is certainly often positively bad in a high degree. (§ 114 ¶ 2)
§ 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)