The Beautiful - An Introduction to Psychological Esthetics E-Book

Vernon Lee

• Herausgeber: Youcanprint
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2019

Beschreibung

I have tried in this little volume to explain aesthetic preference, particularly as regards visible shapes, by the facts of mental science. But my explanation is addressed to readers in whom I have no right to expect a previous knowledge of psychology, particularly in its more modern developments. I have therefore based my explanation of the problems of aesthetics as much as possible upon mental facts familiar, or at all events easily intelligible, to the lay reader.

Leseprobe

Table of Contents

PREFACE AND APOLOGY

CHAPTER I - THE ADJECTIVE “BEAUTIFUL”

CHAPTER II - CONTEMPLATIVE SATISFACTION

CHAPTER III - ASPECTSVERSUSTHINGS

CHAPTER IV - SENSATIONS

CHAPTER V - PERCEPTION OF RELATIONS

CHAPTER VI - ELEMENTS OF SHAPE

CHAPTER VII - FACILITY AND DIFFICULTY OF GRASPING

CHAPTER VIII - SUBJECT AND OBJECT

CHAPTER IX - EMPATHY

CHAPTER X - THE MOVEMENT OF LINES

CHAPTER XI - THE CHARACTER OF SHAPES

CHAPTER XII - FROM THE SHAPE TO THE THING

CHAPTER XIII - FROM THE THING TO THE SHAPE

CHAPTER XIV - THE AIMS OF ART

CHAPTER XV - ATTENTION TO SHAPES

CHAPTER XVI - INFORMATION ABOUT THINGS

CHAPTER XVII - THE CO-OPERATION OF THINGS AND SHAPES

CHAPTER XVIII - ESTHETIC RESPONSIVENESS

CHAPTER XIX - THE STORAGE AND TRANSFER OF EMOTION

CHAPTER XX - ESTHETIC IRRADIATION AND PURIFICATION

CHAPTER XXI - CONCLUSION (EVOLUTIONAL)

THE BEAUTIFUL

An Introduction to Psychological Esthetics

BY

VERNON LEE

First digital edition 2019 by Gianluca Ruffini

PREFACE AND APOLOGY

I HAVE tried in this little volume to explain aesthetic preference, particularly as regards visible shapes, by the facts of mental science. But my explanation is addressed to readers in whom I have no right to expect a previous knowledge of psychology, particularly in its more modern developments. I have therefore based my explanation of the problems of aesthetics as much as possible upon mental facts familiar, or at all events easily intelligible, to the lay reader. Now mental facts thus available are by no means the elementary processes with which analytical and, especially experimental, psychology has dealings. They are, on the contrary, the everyday, superficial and often extremely confused views which practical life and its wholly unscientific vocabulary present of those ascertained or hypothetical scientific facts. I have indeed endeavoured (for instance in the analysis of perception as distinguished from sensation) to impart some rudiments of psychology in the course of my aesthetical explanation, and I have avoided, as much as possible, misleading the reader about such fearful complexes and cruxes as memory, association and imagination. But I have been obliged to speak in terms intelligible to the lay reader, and I am fully aware that these terms correspond only very approximately to what is, or at present passes as, psychological fact. I would therefore beg the psychologist (to whom I offer this little volume as a possible slight addition even to his stock of facts and hypotheses) to understand that in speaking, for instance, of Empathy as involving a thought of certain activities, I mean merely that whatever happens has the same result as if we thought; and that the processes, whatever they may be (also in the case of measuring, comparing and coordinating), translate themselves, when they are detected, into thoughts; but that I do not in the least pre-judge the question whether the processes, the “thoughts,” the measuring, comparing etc. exist on subordinate planes of consciousness or whether they are mainly physiological and only occasionally abutting in conscious resultants. Similarly, lack of space and the need for clearness have obliged me to write as if shape-preference invariably necessitated the detailed process of ocular perception, instead of being due, as is doubtless most often the case, to every kind of associative abbreviation and equivalence of processes.

VERNON LEE

CHAPTER I - THE ADJECTIVE “BEAUTIFUL”

THIS little book, like the great branch of mental science to which it is an introduction, makes no attempt to “form the taste” of the public and still less to direct the doings of the artist. It deals not with ought but with is, leaving to Criticism the inference from the latter to the former. It does not pretend to tell how things can be made beautiful or even how we can recognize that things are beautiful. It takes Beauty as already existing and enjoyed, and seeks to analyses and account for Beauty’s existence and enjoyment. More strictly speaking, it analyses and accounts for Beauty not inasmuch as existing in certain objects and processes, but rather as calling forth (and being called forth by) a particular group of mental activities and habits. It does not ask: What are the peculiarities of the things (and the proceedings) which we call Beautiful? but: What are the peculiarities of our thinking and feeling when in the presence of a thing to which we apply this adjective? The study of single beautiful things, and even more, the comparison of various categories thereof, is indeed one-half of all scientific aesthetics, but only inasmuch as it adds to our knowledge of the particular mental activities which such “Beautiful” (and vice versa “Ugly”) things elicit in us. For it is on the nature of this active response on our own part that depends the application of those terms Beautiful and Ugly in every single instance; and indeed, their application in any instances whatsoever, their very existence in the human vocabulary.

In accordance with this programme I shall not start with a formal definition of the word Beautiful, but ask: on what sort of occasions we make use of it. Evidently, on occasions when we feel satisfaction rather than dissatisfaction, satisfaction meaning willingness either to prolong or to repeat the particular experience which has called forth that word; and meaning also that if it comes to a choice between two or several experiences, we prefer the experience thus marked by the word Beautiful. Beautiful, we may therefore formulate, implies on our part an attitude of satisfaction and preference. But there are other words which imply that much; first and fore most, the words, in reality synonyms, USEFUL and GOOD. I call these synonyms because good always implies good for, or good in, that is to say fitness for a purpose, even though that purpose may be masked underconforming to a standard or obeying a commandment, since the standard or commandment represents not the caprice of a community, a race or a divinity, but some (real or imaginary) utility of a less immediate kind. So much for the meaning of good when implying standards and commandments; ninety-nine times out of a hundred there is, however, no such implication, and good means nothing more than satisfactory in the way of use and advantage. Thus, a good road is a road we prefer because it takes us to our destination quickly and easily. A good speech is one we prefer because it succeeds in explaining or persuading. And a good character (good friend, father, husband, citizen) is one that gives satisfaction by the fulfilment of moral obligations.

But note the difference when we come to Beautiful. A beautiful road is one we prefer because it affords views we like to look at; its being devious and inconvenient will not prevent its being beautiful. A beautiful speech is one we like to hear or remember, although it may convince or persuade neither us nor anybody. A beautiful character is one we like to think about but which may never practically help anyone, if for instance, it exists not in real life but in a novel. Thus, the adjective Beautiful implies an attitude of preference, but not an attitude of present or future turning to our purposes. There is even a significant lack of symmetry in the words employed (at all events in English, French and German) to distinguish what we like from what we dislike in the way of weather. For weather, which makes us uncomfortable and hampers our comings and goings by rain, wind or mud, is described as bad; while the opposite kind of weather is called beautiful, fine, or fair, as if the greater comfort, convenience, usefulness of such days was forgotten in the lively satisfaction afforded to our mere contemplation.

Our mere contemplation! Here we have struck upon the main difference between our attitude when we use the word good or useful, and when we use the word beautiful. And we can add to our partial formula “beautiful implies satisfaction and preference “the distinguishing predicate” of a contemplative kind.” This general statement will be confirmed by an everyday anomaly in our use of the word beautiful; and the examination of this seeming exception will not only exemplify what I have said about our attitude when employing that word, but add to this information the name of the emotion corresponding with that attitude: the emotion of admiration. For the selfsame object or proceeding may sometimes be called good and sometimes beautiful, according as the mental attitude is practical or contemplative. While we admonish the traveller to take a certain road because he will find it good, we may hear that same road described by an enthusiastic coachman as beautiful, anglicè fine or splendid, because there is no question of immediate use, and the road’s qualities are merely being contemplated with admiration. Similarly, we have all of us heard an engineer apply to a piece of machinery, and even a surgeon to an operation, the apparently far-fetched adjective Beautiful, or one of the various equivalents, fine, splendid, glorious (even occasionally jolly!) by which Englishmen express their admiration. The change of word represents a change of attitude. The engineer is no longer bent upon using the machine, nor the surgeon estimating the advantages of the operation. Each of these highly practical persons has switched off his practicality, if but for an imperceptible fraction of time and in the very middle of a practical estimation or even of practice itself. The machine or operation, the skill, the inventiveness, the fitness for its purposes, are being considered apart from action, and advantage, means and time, today or yesterday; platonically we may call it from the first great teacher of aesthetics. They are being, in one word, contemplated with admiration. And admiration is the rough and ready name for the mood, however transient, for the emotion, however faint, wherewith we greet whatever makes us contemplate, because contemplation happens to give satisfaction. The satisfaction may be a mere skeleton of the “I’d rather than not” description; or it may be a massive alteration in our being, radiating far beyond the present, evoking from the past similar conditions to corroborate it; storing itself up for the future; penetrating, like the joy of a fine day, into our animal spirits, altering pulse, breath, gait, glance and demeanour; and transfiguring our whole momentary outlook on life. But, superficial or over whelming, this hind of satisfaction connected with, the word Beautiful is always of the Contemplative order.

And upon the fact we have thus formulated depend, as we shall see, most of the other facts and formulae of our subject.

This essentially unpractical attitude accompanying the use of the word Beautiful has led metaphysical aestheticians to two famous, and I think, quite misleading theories. The first of these defines aesthetic appreciation as disinterested interest, gratuitously identifying self-interest with the practical pursuit of advantages we have not yet got; and overlooking the fact that such appreciation implies enjoyment and is so far, the very reverse of disinterested. The second philosophical theory (originally Schiller’s, and revived by Herbert Spencer) takes advantage of the non-practical attitude connected with the word Beautiful to define art and its enjoyment as a kind of play. Now although leisure and freedom from cares are necessary both for play and for aesthetic appreciation, the latter differs essentially from the former by its contemplative nature. For although it may be possible to watch other people playing football or chess or bridge in a purely contemplative spirit and with the deepest admiration, even as the engineer or surgeon may contemplate the perfections of a machine or an operation, yet the concentration on the aim and the next moves constitutes on the part of the players themselves an eminently practical state of mind, one diametrically opposed to contemplation, as I hope to make evident in the next section.

CHAPTER II - CONTEMPLATIVE SATISFACTION

WE have thus defined the word Beautiful as implying an attitude of contemplative satisfaction, marked by a feeling, sometimes amounting to an emotion, of admiration; and so far, contrasted it with the practical attitude implied by the word good. But we require to know more about the distinctive peculiarities of contemplation as such, by which, moreover, it is distinguished not merely from the practical attitude, but also from the scientific one.

Let us get some rough and ready notions on this subject by watching the behaviour and listening to the remarks of three imaginary wayfarers in front of a view, which they severally consider in the practical, the scientific and the aesthetic manner. The view was from a hill-top in the neighbourhood of Rome or of Edinburgh, whichever the Reader can best realise; and in its presence the three travellers halted and remained for a moment absorbed each in his thoughts.

“It will take us a couple of hours to get home on foot” began one of the three. “We might have been back for tea-time if only there had been a tram and a funicular. And that makes me think: Why not start a joint-stock company to build them? There must be water-power in these hills; the hill people could keep cows and send milk and butter to town. Also, houses could be built for people whose work takes them to town, but who want good air for their children; the hire-purchase system, you know. It might prove a godsend and a capital investment, though I suppose some people would say it spoilt the view. The idea is quite a good one. I shall get an expert”

“These hills,” put in the second man” are said to be part of an ancient volcano. I don’t know whether that theory is true! It would be interesting to examine whether the summits have been ground down in places by ice, and whether there are traces of volcanic action at different geological epochs; the plain, I suppose, has been under the sea at no very distant period. It is also interesting to notice, as we can up here, how the situation of the town is explained by the river affording easier shipping on a coast poor in natural harbours; moreover, this has been the inevitable meeting-place of seafaring and pastoral populations. These investigations would prove, as I said, remarkably full of interest.”

“I wish” complained the third wayfarer, but probably only to himself” I wish these men would hold their tongues and let one enjoy this exquisite place without diverting one’s attention to what might be done or to how it all came about. They don’t seem to feel how beautiful it all is.” And he concentrated himself on contemplation of the landscape, his delight brought home by a stab of reluctance to leave.

Meanwhile one of his companions fell to wondering whether there really was sufficient pasture for dairy-farming and water-power for both tramway and funicular, and where the necessary capital could be borrowed; and the other one hunted about for marks of stratification and upheaval, and ransacked his memory for historical data about the various tribes originally inhabiting that country.

“I suppose you’re a painter and regretting you haven’t brought your sketching materials?” said the scientific man, always interested in the causes of phenomena, even such trifling ones as a man remaining quiet before a landscape.