A Definition of Esthetics. If a number of different objects are to be put into the same class, this must be done on the basis of some common quality which every one of them possesses. What, then, can be the common quality by virtue of which one ever classes together things so diverse as a tragedy and a comedy, a gem and a cathedral, a song and a picture? Suppose we say that all these are alike in being beautiful. Then the question is, what is this quality of beauty, if it may or may not be visible, may or may not be audible, may or may not consist in the grace of well-ordered language? Our answer must be that beauty depends upon the taste of the person who observes the work of art as much as upon the work itself, and that the cathedral, the gem, the symphony, etc., are alike in having some peculiar effect upon the feelings of the person who appreciates them. There are, in general, two ways of regarding a work of art: one of these is from the point of view of the amateur who admires but does not practise art, and the other is from the point of view of the artist or producer. It is the business of esthetics to examine both of these kinds of consciousness. Subjectively, esthetics is the science of the feelings which are con I cerned in the production and appreciation of beautiful things. Objectively, it is the analysis and classification of the beautiful objects which occasion those feelings. Relationship to Art and Science. Esthetics has for its subject-matter the beauty both of art and of nature, but the more important of the two is the beauty of art. We shall see that the appreciation of nature is derived from the appreciation of human art products, and that nature by itself lacks the element of personal expression, which is important in the esthetic experience. Besides, natural beauty is less susceptible of experimental management than the work of art and hence less fruitful for the observer. Although, therefore, the beauty of nature is not to be excluded from esthetics, the work of art is the principal theme. Esthetics is a science because it pursues the methods of science: the esthetician gathers specimens, observes and compares them, classifies and tries to explain; when possible he examines them under conditions of control. The worker in esthetics has for his specimens emotional experiences, and judgments of "beautiful" and "not beautiful." He observes the person who makes the judgment, observes the object about which it is made, notices attendant circumstances. He compares the judgment of other persons on the same object, and of the same person on other objects; varies one by one the characteristics of the object, takes the subject in a variety of moods, and when he is able to find a constant result of any kind, there he has the rudiments of an esthetic law. |