BYJOHNDEWEY

THEQUESTFORCERTAINTY
INDIVIDUALISMOLDANDNEW
PHILOSOPHYANDCIVILIZATION

ARTASEXPERIENCE

ARTASEXPERIENCE

BYJOHN
DEWEY

APERIGEEBOOK

I934

TOALBERTC.BARNESINGRATITUDE

PerigeeBooks
arepublishedby
TheBerkleyPublishingGroup
200MadisonAvenue
NewYork,NewYork10016

Copyright1934byJohnDewey
Allrightsreserved.Thisbook,orpartsthereof,
maynotbereproducedinanyformwithoutpermission.
FirstPerigeeprinting1980

LibraryofCongressCatalog
CardNumber:
5859756

ISBN039950025I

CoverdesignbyRobertSullivan

PrintedintheUnitedStatesofAmerica

29303132333435363738

PREFACE

INTHEwinterandspringof
1931,
Iwasinvitedtogiveaseriesoftenlectures
atHarvardUniversity.ThesubjectchosenwasthePhilosophyofArtthelectures
aretheoriginofthepresentvolume.TheLectureshipwasfoundedinmemoryof
WilliamJamesandIesteemitagreathonortohavethisbookassociatedeven
indirectlywithhisdistinguishedname.Itisapleasure,also,terecall,in
connectionwiththelectures,theunvaryingkindnessandhospitalityofmy
colleaguesinthedepartmentofphilosophyatHarvard.
Iamsomewhatembarrassedinanefforttoacknowledgeindebtednessto
otherwritersonthesubject.Someaspectsofitmaybeinferredfromauthors
mentionedorquotedinthetext.Ihavereadonthesubjectformanyyears,
however,moreorlesswidelyinEnglishliterature,somewhatlessinFrenchand
stilllessinGerman,andIhaveabsorbedmuchfromsourceswhichIcannotnow
directlyrecall.Moreover,myobligationstoanumberofwritersaremuchgreater
thanmightbegatheredfromallusionstotheminthevolumeitself.
Myindebtednesstothosewhohavehelpedmedirectlycanbemoreeasily
stated.Dr.JosephRatnergavemeanumberofvaluablereferences.Dr.Meyer
Schapirowasgoodenoughtoreadthetwelfthandthirteenthchaptersandto
makesuggestionswhichIhavefreelyadopted.IrwinEdnianreadahrgepartof
thebookinmanuscriptandIowemuchtohissuggestionsandcriticism.Sidney
Hookreadmanyofthechapters,andtheirpresentformislargelytheresultof
discussionswithhimthis
vi

statementisespeciallytrueofthechaptersoncriticismandthelastchapter.My
greatestindebtednessistoDr.A.C.Barnes.Thechaptershavebeengoneover
onebyonewithhim,andyetwhatIowetohiscommentsandsuggestionson
thisaccountisbutasmallmeasureofmydebt.Ihavehadthebenefitof
conversatlonswithhimthroughaperiodofyears,manyofwhichoccurredinthe
presenceoftheunrivaledcollectionofpictureshehasassembled.Theinfluence
oftheseconversations,togetherwiththatofhisbooks,hasbeenachieffactorin
shapingmyownthinkingaboutthephilosophyofesthetics.Whateverissoundin
thisvolumeisduemorethanIcansaytothegreateducationalworkcarriedonin
theBarnesFoundation.Thatworkisofapioneerqualitycomparabletothebest
thathasbeendoneinanyfieldduringthepresentgeneration,thatofsciencenot
excepted.Ishouldbegladtothinkofthisvolumeasonephaseofthe
widespreadinfluencetheFoundationisexercising.
IamindebtedtotheBarnesFoundationforpermissiontoreproducea
numberofillustrationsandtoBarbaraandWillardMorganforthephotographs
fromwhichthereproductionsweremade.
3.
D.

CONTENTS
PREFACE

vii

I.

THELIVECREATURE

II.

THELIVECREATUREANDETHERIALTHINGS

III.

HAVINGANEXPERIENCE

IV.

THEACTOFEXPRESSION

V.

THEEXPRESSIVEOBJECT

VI.

SUBSTANCEAN])FORM io6

VII.

THENATURALHISTORYOFFORM

35

82

234

20

VIII.

THEORGANIZATIONOFENERGIES 162

IX.

THECOMMONSUBSTANCEOFTHEARTS 187

X.

THEVARIEDSUBSTANCEOFTHEARTS

XI.

THEHUMANCONTRIBUTION

XII.

THECHALLENGETOPHILOSOPHY

XIII.

CRITICISMANDPERCEPTION agS

XIV.

ARTANDCIVILIZATION 326
INDEX

ss

245
272

224

CHAPTERI
THELIVECREATURE

BYONEoftheironicperversitiesthatoftenattendthecourseofaffairs,the
existenceoftheworksofartuponwhichformationofanesthetictheorydepends
hasbecomeanobstructiontotheoryaboutthem.Foronereason,theseworks
areproductsthatexistexternallyandphysically.Incommonconception,the
workofartisoftenidentifiedwiththebuilding,book,painting,orstatueinits
existenceapartfromhumanexperience.Since
theactualworkofartiswhatthe
productdoeswithandinexperience
,theresultisnotfavorabletounderstanding.
Inaddition,theveryperfectionofsomeoftheseproducts,theprestigethey
possessbecauseofalonghistoryofunquestionedadmiration,creates
conventionsthatgetinthewayoffreshinsight.Whenanartproductonce
attainsclassicstatus,itsomehowbecomesisolatedfromthehumanconditions
underwhichitwasbroughtintobeingandfromthehumanconsequencesit
engendersinactuallifeexperience.

Whenartisticobjectsareseparatedfrombothconditionsoforigin
andoperationinexperience,awallisbuiltaroundthemthatrendersalmost
opaquetheirgeneralsignificance,withwhichesthetictheorydeals.Artis
remittedtoaseparaterealm,whereitiscutofffromthatassociationwith
thematerialsandaimsofeveryotherformofhumaneffort,undergoing,
andachievement.
Aprimarytaskisthusimposedupononewho
undertakestowriteuponthephilosophyofthefinearts.Thistaskisto
restorecontinuitybetweentherefinedandintensifiedformsofexperience
thatareworksofartandtheeverydayevents,doings,andsufferingsthat
areuniversallyrecognizedtoconstituteexperience.
Mountainpeaksdo
notfloatunsupportedtheydonotevenjustrestupontheearth.They
are
theearthinoneofitsmanifestoperations.Itisthebusinessofthosewho
areconcernedwiththetheoryoftheearth,geographersandgeologists,to
makethisfact

ARTASEXPERIENCE

evidentinitsvariousimplications.Thetheoristwhowoulddeal

philosophicallywithfinearthasaliketasktoaccomplish.
Ifoneiswillingtograntthisposition,evenifonlybywayoftemporary
experiment,hewillseethattherefollowsaconclusionatfirstsightsurprising.
In
ordertounderstandthemeaningofartisticproducts,wehavetoforgetthemfora
time,toturnasidefromthemandhaverecoursetotheordinaryforcesand
conditionsofexperiencethatwedonotusuallyregardasesthetic.
Wemust
arriveatthetheoryofartbymeansofadetour.Fortheoryisconcernedwith
understanding,insight,notwithoutexclamationsofadmiration,andstimulationof
thatemotionaloutburstoftencalledappreciation.Itisquitepossibletoenjoy
flowersintheircoloredformanddelicatefragrancewithoutknowinganything
aboutplantstheoretically.Butifonesetsoutto
understand
thefloweringof
plants,heiscommittedtofindingoutsomethingabouttheinteractionsofsoil,air,
waterandsunlightthatconditionthegrowthofplants.
Bycommonconsent,theParthenonisagreatworkofart.Yetithasesthetic
standingonlyastheworkbecomesanexperienceforahumanbeing.And,if
oneistogobeyondpersonalenjoymentintotheformationofatheoryaboutthat
largerepublicofartofwhichthebuildingisonemember,onehastobewillingat
somepointinhisreflectionstoturnfromittothebustling,arguing,acutely
sensitiveAtheniancitizens,withcivicsenseidentifiedwithacivicreligion,of
whoseexperiencethetemplewasanexpression,andwhobuiltitnotasawork
ofartbutasaciviccommemoration.Theturningtothemisashumanbeings
whohadneedsthatwereademandforthebuildingandthatwerecarriedto
fulfillmentinititisnotanexaminationsuchasmightbecarriedonbya

sociologistinsearchformaterialrelevanttohispurpose.Theonewhosetsout
totheorizeabouttheestheticexperienceembodiedintheParthenonmustrealize
inthoughtwhatthepeopleintowhoselivesitenteredhadincommon,as
creatorsandasthosewhoweresatisfiedwithit,withpeopleinourownhomes
andonourownstreets.
Inorderto
understand
theestheticinitsultimateandapprovedforms,one
mustbeginwithitintherawintheeventsandscenesthatholdtheattentiveeye
andearofman,arousinghisinterestandaffordinghimenjoymentashelooks
and

THELIVECREATURE

listens
:thesightsthatholdthecrowdthefireenginerushingbythe
machinesexcavatingenormousholesintheearththehumanflyclimbingthe
steeplesidethemenperchedhighinairongirders,throwingandcatching
redhotbolts.Thesourcesofartinhumanexperiencewillbelearnedbyhim
whoseeshowthetensegraceoftheballplayerinfectstheonlookingcrowdwho
notesthedelightofthehousewifeintendingherplants,andtheintentinterestof
hergoodmanintendingthepatchofgreeninfrontofthehousethezestofthe
spectatorinpokingthewoodburningonthehearthandinwatchingthedarting
flamesandcrumblingcoals.
Thesepeople,ifquestionedastothereasonfor
theiractions,woulddoubtlessreturnreasonableanswers.Themanwhopoked
thesticksofburningwoodwouldsayhedidittomakethefireburnbetterbuthe
isnonethelessfascinatedbythecolorfuldramaofchangeenactedbeforehis
eyesandimaginativelypartakesinit.
Hedoesnotremainacoldspectator.
WhatColeridgesaidofthereaderofpoetryistrueinitswayofallwhoare
happilyabsorbedintheiractivitiesofmindandbody:Thereadershouldbe
carriedforward,notmerelyorchieflybythemechanicalimpulseofcuriosity,not
byarestlessdesiretoarriveatthefinalsolution,butbythepleasurableactivityof
thejourneyitself.

(Thoseengagedmoreoftengivepractical/instrumental
reasonswhenaskedforreasons.Theaestheticreasonsseemlessaccessible
oracceptable.)
Theintelligentmechanicengagedinhisjob,interestedindoingwelland
findingsatisfactioninhishandiwork,caringforhismaterialsandtoolswith
genuineaffection,isartisticallyengaged.Thedifferencebetweensuchaworker
andtheineptandcarelessbunglerisasgreatintheshopasitisinthestudio.

Oftentimestheproductmaynotappealtotheestheticsenseofthosewhouse
theproduct.Thefault,however,isoftentimesnotsomuchwiththeworkeras
withtheconditionsofthemarketforwhichhisproductisdesigned.Were
conditionsandopportunitiesdifferent,thingsassignificanttotheeyeasthose
producedbyearliercraftsmenwouldbemade.
SoextensiveandsubtlypervasivearetheideasthatsetArtuponaremote
pedestal,thatmanyapersonwouldberepelledratherthanpleasediftoldthathe
enjoyedhiscasualrecreations,inpartatleast,becauseoftheirestheticquality.
Theartswhichtodayhavemostvitalityfortheaveragepersonarethingshe
doesnottaketobearts:forinstance,themovie,jazzedmusic,

ARTASEXPERIENCE

thecomicstrip,and,toofrequently,newspaperaccountsoflovenests,

murders,andexploitsofbandits.For,whenwhatheknowsasartisrelegatedto
themuseumandgallery,theunconquerableimpulsetowardsexperiences
enjoyableinthemselvesfindssuchoutletasthedailyenvironmentprovides.
Manyapersonwhoprotestsagainstthemuseumconceptionofart,stillshares
thefallacyfromwhichthatconceptionsprings.Forthepopularnotioncomes
fromaseparationofartfromtheobjectsandscenesofordinaryexperiencethat
manytheoristsandcriticspridethemselvesuponholdingandevenelaborating.
Thetimeswhenselectanddistinguishedobjectsarecloselyconnectedwiththe
productsofusualvocationsarethetimeswhenappreciationoftheformerismost
rifeandmostkeen.When,becauseoftheirremoteness,theobjects
acknowledgedbythecultivatedtobeworksoffineartseemanemictothemass
ofpeople,esthetichungerislikelytoseekthecheapandthevulgar.
Thefactorsthathaveglorifiedfineartbysettingituponafaroffpedestaldid
notarisewithintherealmofartnoristheirinfluenceconfinedtothearts.For
manypersonsanauraofmingledaweandunrealityencompassesthespiritual
andtheidealwhilematterhasbecomebycontrastatermofdepreciation,
somethingtobeexplainedawayorapologizedfor.Theforcesatworkarethose
thathaveremovedreligionaswellasfineartfromthescopeofthecommonor
communitylife.Theforceshavehistoricallyproducedsomanyofthe
dislocationsanddivisionsofmodernlifeandthoughtthatartcouldnotescape
theirinfluence.Wedonothavetotraveltotheendsoftheearthnorreturnmany
millenniaintimetofindpeoplesforwhomeverythingthatintensifiesthesenseof
immediatelivingisanobjectofintenseadmiration.Bodilyscarification,waving

feathers,gaudyrobes,shiningornamentsofgoldandsilver,ofemeraldandjade,
formedthecontentsofestheticarts,and,presumably,withoutthevulgarityof
classexhibitionismthatattendstheiranaloguestoday.Domesticutensils,
furnishingsoftentandhouse,rugs,mats,jars,pots,bows,spears,werewrought
withsuchdelightedcarethattodaywehuntthemoutandgivethemplacesof
honorinourartmuseums.Yetintheirowntimeandplace,suchthingswere
enhancementsoftheprocessesofeverydaylife.Insteadofbeingelevatedtoa
nicheapart,theybelongedtodisplayofprowess.the

THELIVECREATURE

manifestationofgroupandclanmembership,worshipofgods,feastingand
fasting,fighting,hunting,andalltherhythmiccrisesthatpunctuatethestreamof
living.
Dancingandpantomime,thesourcesoftheartofthetheater,flourishedas
partofreligiousritesandcelebrations.Musicalartaboundedinthefingeringof
thestretchedstring,thebeatingofthetautskin,theblowingwithreeds.Evenin
thecaves,humanhabitationswereadornedwithcoloredpicturesthatkeptalive
tothesensesexperienceswiththeanimalsthatweresocloselyboundwiththe
livesofhumans.Structuresthathousedtheirgodsandtheinstrumentalitiesthat
facilitatedcommercewiththehigherpowerswerewroughtwithespecial
fineness.Buttheartsofthedrama,music,painting,andarchitecturethus
exemplifiedhadnopeculiarconnectionwiththeaters,galleries,museums.They
werepartofthesignificantlifeofanorganizedcommunity.
Thecollectivelifethatwasmanifestedinwar,worship,theforum,knewno
divisionbetweenwhatwascharacteristicoftheseplacesandoperations,andthe
artsthatbroughtcolor,grace,anddignity,intothem.Paintingandsculpture
wereorganicallyonewitharchitecture,asthatwasonewiththesocialpurpose
thatbuildingsserved.Musicandsongwereintimatepartsoftheritesand
ceremoniesinwhichthemeaningofgrouplifewasconsummated.Dramawasa
vitalreenactmentofthelegendsandhistoryofgrouplife.NoteveninAthens
cansuchartsbetornloosefromthissettingindirectexperienceandyetretain
theirsignificantcharacter.Athleticsports,aswellasdrama,celebratedand
enforcedtraditionsofraceandgroup,instructingthepeople,commemorating
glories,andstrengtheningtheircivicpride.

Undersuchconditions,itisnotsurprisingthattheAthenianGreeks,when
theycametoreflectuponart,formedtheideathatitisanactofreproduction,or
imitation.
Therearemanyobjectionstothisconception.
Butthevogueofthe
theoryistestimonytothecloseconnectionofthefineartswithdailylifetheidea
wouldnothaveoccurredtoanyonehadartbeenremotefromtheinterestsof
life.
Forthedoctrinedidnotsignifythatartwasaliteralcopyingofobjects,but
thatitreflectedtheemotionsandideasthatareassociatedwiththechief
institutionsofsociallife.Platofeltthisconnectionsostronglythatitledhim

ARTASEXPERIENCE

tohisideaofthenecessityofcensorshipofpoets,dramatists,andmusicians.
PerhapsheexaggeratedwhenhesaidthatachangefromtheDorictothe
Lydianmodeinmusicwouldbethesureprecursorofcivicdegeneration.Butno
contemporarywouldhavedoubtedthatmusicwasanintegralpartoftheethos
andtheinstitutionsofthecommunity.
Theideaofartforartssakewouldnot
havebeenevenunderstood.
Theremustthenbehistoricreasonsfortheriseofthecompartmental
conceptionoffineart.Ourpresentmuseumsandgalleriestowhichworksoffine
artareremovedandstoredillustratesomeofthecausesthathaveoperatedto
segregateartinsteadoffindingitanattendantoftemple,forum,andotherforms
ofassociatedlife.Aninstructivehistoryofmodernartcouldbewrittenintermsof
theformationofthedistinctivelymoderninstitutionsofmuseumandexhibition
gallery.Imaypointtoafewoutstandingfacts.MostEuropeanmuseumsare,
amongotherthings,memorialsoftheriseofnationalismandimperialism.Every
capitalmusthaveitsownmuseumofpainting,sculpture,etc.,devotedinpartto
exhibitingthegreatnessofitsartisticpast,and,inotherpart,toexhibitingtheloot
gatheredbyitsmonarchsinconquestofothernationsforinstance,the
accumulationsofthespoilsofNapoleonthatareintheLouvre.Theytestifyto
theconnectionbetweenthemodernsegregationofartandnationalismand
militarism.Doubtlessthisconnectionhasservedattimesausefulpurpose,asin
thecaseofJapan,who,whenshewasintheprocessofwesternization,saved
muchofherarttreasuresbynationalizingthetemplesthatcontainedthem.
Thegrowthofcapitalismhasbeenapowerfulinfluenceinthedevelopmentof
themuseumastheproperhomeforworksofart,andinthepromotionoftheidea

thattheyareapartfromthecommonlife.The
nouveauxriches,
whoarean
importantbyproductofthecapitalistsystem,havefeltespeciallyboundto
surroundthemselveswithworksoffineartwhich,beingrare,arealsocostly.
Generallyspeaking,thetypicalcollectoristhetypicalcapitalist.Forevidenceof
goodstandingintherealmofhigherculture,heamassespaintings,statuary,and
artistic
bijoux,
ashisstocksandbondscertifytohisstandingintheeconomic
world.
Notmerelyindividuals,butcommunitiesandnations,puttheirculturalgood
tasteinevidencebybuildingoperahouses,

THELIVECREATURE

galleries,andmuseums.Theseshowthatacommunityisnotwholly
absorbedinmaterialwealth,becauseitiswillingtospenditsgainsinpatronage
ofart.Iterectsthesebuildingsandcollectstheircontentsasitnowbuildsa
cathedral.Thesethingsreflectandestablishsuperiorculturalstatus,whiletheir
segregationfromthecommonlifereflectsthefactthattheyarenotpartofa
nativeandspontaneousculture.Theyareakindofcounterpartofa
holierthanthouattitude,exhibitednottowardpersonsassuchbuttowardthe
interestsandoccupationsthatabsorbmostofthecommunitystimeandenergy.
Modernindustryandcommercehaveaninternationalscope.Thecontentsof
galleriesandmuseumstestifytothegrowthofeconomiccosmopolitanism.The
mobilityoftradeandofpopulations,duetotheeconomicsystem,hasweakened
ordestroyedtheconnectionbetweenworksofartandthe
geniusloci
(a
pervadingspiritortutelarydeityofaplace)
ofwhichtheywereoncethenatural
expression.Asworksofarthavelosttheirindigenousstatus,theyhaveacquired
anewonethatofbeingspecimensoffineartandnothingelse.Moreover,
worksofartarenowproduced,likeotherarticles,forsaleinthemarket.
Economicpatronagebywealthyandpowerfulindividualshasatmanytimes
playedapartintheencouragementofartisticproduction.Probablymanya
savagetribehaditsMaecenas.Butnoweventhatmuchofintimatesocial
connectionislostintheimpersonalityofaworldmarket.Objectsthatwereinthe
pastvalidandsignificantbecauseoftheirplaceinthelifeofacommunitynow
functioninisolationfromtheconditionsoftheirorigin.Bythatfacttheyarealso
setapartfromcommonexperience,andserveasinsigniaoftasteandcertificates
ofspecialculture.

Becauseofchangesinindustrialconditionstheartisthasbeenpushedtoone
sidefromthemainstreamsofactiveinterest.Industryhasbeenmechanized
andanartistcannotworkmechanicallyformassproduction.Heisless
integratedthanformerlyinthenormalflowofsocialservices.Apeculiaresthetic
individualismresults.Artistsfinditincumbentuponthemtobetakethemselves
totheirworkasanisolatedmeansofselfexpression.Inordernottocaterto
thetrendofeconomicforces,theyoftenfeelobligedtoexaggeratetheir
separatenesstothepointofeccentricity.Consequentlyartisticproductstakeon
toa

10

ARTASEXPERIENCE

stillgreaterdegreetheairofsomethingindependentandesoteric.
Putthe

actionofallsuchforcestogether,andtheconditionsthatcreatethegulfwhich
existsgenerallybetweenproducerandconsumerinmodernsocietyoperateto
createalsoachasmbetweenordinaryandestheticexperience.
Finallywehave,
astherecordofthischasm,acceptedasifitwerenormal,thephilosophiesofart
thatlocateitinaregioninhabitedbynoothercreature,andthatemphasize
beyondallreasonthemerelycontemplativecharacteroftheesthetic.Confusion
ofvaluesentersintoaccentuatetheseparation.Adventitiousmatters,likethe
pleasureofcollecting,ofexhibiting,ofownershipanddisplay,simulateesthetic
values.Criticismisaffected.Thereismuchapplauseorthewondersof
appreciationandthegloriesofthetranscendentbeautyofartindulgedinwithout
muchregardtocapacityforestheticperceptionintheconcrete.
Mypurpose,however,isnottoengageinaneconomicinterpretationofthe
historyofthearts,muchlesstoarguethateconomicconditionsareeither
invariablyordirectlyrelevanttoperceptionandenjoyment,orevento
interpretationofindividualworksofart.Itistoindicatethat
theories
whichisolate
artanditsappreciationbyplacingtheminarealmoftheirown,disconnected
fromothermodesofexperiencing,arenotinherentinthesubjectmatterbutarise
becauseofspecifiableextraneousconditions.
Embeddedastheyarein
institutionsandinhabitsoflife,theseconditionsoperateeffectivelybecausethey
worksounconsciously.Thenthetheoristassumestheyareembeddedinthe
natureofthings.Nevertheless,theinfluenceoftheseconditionsisnotconfined
totheory.AsIhavealreadyindicated,itdeeplyaffectsthepracticeofliving,

drivingawayestheticperceptionsthatarenecessaryingredientsofhappiness,or
reducingthemtothelevelofcompensatingtransientpleasurableexcitations.
Eventoreaderswhoareadverselyinclinedtowhathasbeensaid,the
implicationsofthestatementsthathavebeenmademaybeusefulindefiningthe
natureoftheproblem:thatofrecoveringthecontinuityofestheticexperience
withnormalprocessesofliving.Theunderstandingofartandofitsrolein
civilizationisnotfurtheredbysettingoutwitheulogiesofitnorbyoccupying
ourselvesexclusivelyattheoutsetwithgreatworksofartrecognizedassuch.
Thecomprehensionwhichtheory

THELIVECREATURE

I1

essayswillbearrivedatbyadetourbygoingbacktoexperienceofthe
commonormillrunofthingstodiscovertheestheticqualitysuchexperience
possesses.Theorycanstartwithandfromacknowledgedworksofartonlywhen
theestheticisalreadycompartmentalized,oronlywhenworksofartaresetina
nicheapartinsteadofbeingcelebrations,recognizedassuch,ofthethingsof
ordinaryexperience.Evenacrudeexperience,ifauthenticallyanexperience,is
morefittogiveacluetotheintrinsicnatureofestheticexperiencethanisan
objectalreadysetapartfromanyothermodeofexperience.Followingthisclue
wecandiscoverhowtheworkofartdevelopsandaccentuateswhatis
characteristicallyvaluableinthingsofeverydayenjoyment.Theartproductwill
thenbeseentoissuefromthelatter,whenthefullmeaningofordinary
experienceisexpressed,asdyescomeoutofcoaltarproductswhenthey
receivespecialtreatment.
Manytheoriesaboutartalreadyexist.Ifthereisjustificationforproposingyet
anotherphilosophyoftheesthetic,itmustbefoundinanewmodeofapproach.
Combinationsandpermutationsamongexistingtheoriescaneasilybebrought
forthbythosesoinclined.
But,tomymind,thetroublewithexistingtheoriesis
thattheystartfromareadymadecompartmentalization,orfromaconceptionof
artthatspiritualizesitoutofconnectionwiththeobjectsofconcreteexperience.
Thealternative,however,tosuchspiritualizationisnotadegradingand
Philistinishmaterializationofworksoffineart,butaconceptionthatdisclosesthe
wayinwhichtheseworksidealizequalitiesfoundincommonexperience.
Were
worksofartplacedinadirectlyhumancontextinpopularesteem,theywould

haveamuchwiderappealthantheycanhavewhenpigeonholetheoriesofart
wingeneralacceptance.
RemindsmeofDeweysthoughtsontherelationshipbetweensubjectmatter
andstudentseverydaylives.Adisciplinelikescienceisafieldorsetofideas
separatefromeverydayexperienceinstead,itisanintensificationofwhatwe
mayexperienceeveryday.Likeart,itsbasisisineverydayexperience.Likeart,
itspurposeistohelpusliveoureverydaylivesmorerichly.Thus,itshouldseem
incrediblethatquestionslikehowdoesscienceapplytoourlivesshouldarise.
Thesubjectshouldneverbepresentedasasetofideasthatneedtobe
connectedtostudentslives.
Aconceptionoffineartthatsetsoutfromitsconnectionwithdiscovered
qualitiesofordinaryexperiencewillbeabletoindicatethefactorsandforcesthat
favorthenormaldevelopmentofcommonhumanactivitiesintomattersofartistic
value.Itwillalsobeabletopointoutthoseconditionsthatarrestitsnormal
growth.Writersonesthetictheoryoftenraisethequestionofwhetheresthetic
philosophycanaidincultivationofestheticappreciation.Thequestionisa
branchofthegeneraltheoryofcriticism,which,itseemstome,fallsto
accomplish

12

ARTASEXPERIENCE

itsfullofficeifitdoesnotindicatewhattolookforandwhattofindinconcrete

estheticobjects.But,inanycase,itissafetosaythataphilosophyofartis
sterilizedunlessitmakesusawareofthefunctionofartinrelationtoother
modesofexperience,andunlessitindicateswhythisfunctionissoinadequately
realized,andunlessitsuggeststheconditionsunderwhichtheofficewouldbe
successfullyperformed.
Thecomparisonoftheemergenceofworksofartoutofordinaryexperiences
totherefiningofrawmaterialsintovaluableproductsmayseemtosome
unworthy,ifnotanactualattempttoreduceworksofarttothestatusofarticles
manufacturedforcommercialpurposes.Thepoint,however,isthatnoamount
ofecstaticeulogyoffinishedworkscanofitselfassisttheunderstandingorthe
generationofsuchworks.Flowerscanbeenjoyedwithoutknowingaboutthe
interactionsofsoil,air,moisture,andseedsofwhichtheyaretheresult.Butthey
cannotbe
understood
withouttakingjusttheseinteractionsintoaccountand
theoryisamatterofunderstanding.
Theoryisconcernedwithdiscoveringthe
natureoftheproductionofworksofartandoftheirenjoymentinperception.
Howisitthattheeverydaymakingofthingsgrowsintothatformofmakingwhich
isgenuinelyartistic?Howisitthatoureverydayenjoymentofscenesand
situationsdevelopsintothepeculiarsatisfactionthatattendstheexperience
whichisemphaticallyesthetic?Thesearethequestionstheorymustanswer.
Theanswerscannotbefound,unlesswearewillingtofindthegermsandroots
inmattersofexperiencethatwedonotcurrentlyregardasesthetic.Having
discoveredtheseactiveseeds,wemayfollowthecourseoftheirgrowthintothe
highestformsoffinishedandrefinedart.

Itisacommonplacethatwecannotdirect,saveaccidentally,thegrowthand
floweringofplants,howeverlovelyandenjoyed,withoutunderstandingtheir
causalconditions.Itshouldbejustacommonplacethatesthetic
understandingasdistinctfromsheerpersonalenjoymentmuststartwiththe
soil,air,andlightoutofwhichthingsestheticallyadmirablearise.Andthese
conditionsaretheconditionsandfactorsthatmakeanordinaryexperience
complete.Themorewerecognizethisfact,themoreweshallfindourselves
facedwithaproblemratherthanwithafinalsolution.
If
artisticandesthetic
qualityisimplicitinevery

THELIVECREATURE

13

normalexperience,howshallweexplainhowandwhyitsogenerallyfailsto
becomeexplicit?Whyisitthattomultitudesartseemstobeanimportationinto
experiencefromaforeigncountryandtheesthetictobeasynonymfor
somethingartificial?

WEcannotanswerthesequestionsanymorethanwecantracethe
developmentofartoutofeverydayexperience,unlesswehaveaclearand
coherentideaofwhatismeantwhenwesaynormalexperience.Fortunately,
theroadtoarrivingatsuchanideaisopenandwellmarked.Thenatureof
experienceisdeterminedbytheessentialconditionsoflife.
Whilemanisother
thanbirdandbeast,hesharesbasicvitalfunctionswiththemandhastomake
thesamebasaladjustmentsifheistocontinuetheprocessofliving.
Havingthe
samevitalneeds,manderivesthemeansbywhichhebreathes,moves,looks
andlistens,theverybrainwithwhichhecoordinateshissensesandhis
movements,fromhisanimalforbears.Theorganswithwhichhemaintains
himselfinbeingarenotofhimselfalone,butbythegraceofstrugglesand
achievementsofalonglineofanimalancestry.
Fortunatelyatheoryoftheplaceoftheestheticinexperiencedoesnothave
toloseitselfinminutedetailswhenitstartswithexperienceinitselementalform.
Broadoutlinessuffice.
Thefirstgreatconsiderationisthatlifegoesoninan
environmentnotmerely
in
itbutbecauseofit,throughinteractionwithit.No
creaturelivesmerelyunderitsskinitssubcutaneousorgansaremeansof
connectionwithwhatliesbeyonditsbodilyframe,andtowhich,inordertolive,it
mustadjustitself,byaccommodationanddefensebutalsobyconquest.
At

everymoment,thelivingcreatureisexposedtodangersfromitssurroundings,
andateverymoment,itmustdrawuponsomethinginitssurroundingstosatisfy
itsneeds.
Thecareeranddestinyofalivingbeingareboundupwithits
interchangeswithitsenvironment,notexternallybutinthemostintimateway.
Thegrowlofadogcrouchingoverhisfood,hishowlintimeoflossand
loneliness,thewaggingofhistailatthereturnofhishumanfriendare
expressionsoftheimplicationofalivinginanaturalmediumwhichincludesman
alongwiththeanimalhehasdomesticated.Everyneed,sayhungerforfreshair

14

ARTASEXPERIENCE

orfood,isalackthatdenotesatleastatemporaryabsenceofadequate

adjustmentwithsurroundings.Butitisalsoademand,areachingoutintothe
environmenttomakegoodthelackandtorestoreadjustmentbybuildingatleast
atemporaryequilibrium.
Lifeitselfconsistsofphasesinwhichtheorganismfalls
outofstepwiththemarchofsurroundingthingsandthenrecoversunisonwith
iteitherthrougheffortorbysomehappychance.And,inagrowinglife,the
recoveryisnevermerereturntoapriorstate,foritisenrichedbythestateof
disparityandresistancethroughwhichithassuccessfullypassed.
Ifthegap
betweenorganismandenvironmentistoowide,thecreaturedies.Ifitsactivityis
notenhancedbythetemporaryalienation,itmerelysubsists.
Lifegrowswhena
temporaryfallingoutisatransitiontoamoreextensivebalanceoftheenergies
oftheorganismwiththoseoftheconditionsunderwhichitlives.
Deweyseemstosuggestthatthedirectionofgrowthinlivingthingsistoward
greaterbalanceofenergies,greateradaptation.Connectionwithanimallife
seemstodrawonDarwin.
Thesebiologicalcommonplacesaresomethingmorethanthattheyreachto
therootsoftheestheticinexperience.Theworldisfullofthingsthatare
indifferentandevenhostiletolifetheveryprocessesbywhichlifeismaintained
tendtothrowitoutofgearwithitssurroundings.Nevertheless,iflifecontinues
andifincontinuingitexpands,thereisanovercomingoffactorsofopposition
andconflictthereisatransformationofthemintodifferentiatedaspectsofa
higherpoweredandmoresignificantlife.
Themarveloforganic,ofvital,
adaptationthroughexpansion(insteadofbycontractionandpassive
accommodation)actuallytakesplace.Hereingermarebalanceandharmony

attainedthroughrhythm.Equilibriumcomesaboutnotmechanicallyandinertly
butoutof,andbecauseof,tension.
Thereisinnature,evenbelowtheleveloflife,somethingmorethanmereflux
andchange.Formisarrivedatwheneverastable,eventhoughmoving,
equilibriumisreached.

(impliedreferencestoageold,Greekissuesofthe
natureofthings)
Changesinterlockandsustainoneanother.Whereverthereis
thiscoherencethereisendurance.Orderisnotimposedfromwithoutbutis
madeoutoftherelationsofharmoniousinteractionsthatenergiesbeartoone
another.Becauseitisactive(notanythingstaticbecauseforeigntowhatgoes
on)orderitselfdevelops.Itcomestoincludewithinitsbalancedmovementa
greatervarietyofchanges.
Ordercannotbutbeadmirableinaworldconstantly

THELIVECREATURE

I5

threatenedwithdisorderinaworldwherelivingcreaturescangoonliving
onlybytakingadvantageofwhateverorderexistsaboutthem,incorporatingit
intothemselves.
Inaworldlikeours,everylivingcreaturethatattainssensibility
welcomesorderwitharesponseofharmoniousfeelingwheneveritfindsa
congruousorderaboutit.

(establishesconnectionbetweenorder,sense,and
aestheticpleasure)
Foronlywhenanorganismsharesintheorderedrelationsofitsenvironment
doesitsecurethe
stabilityessentialtoliving
.
(orderisessentialforlife)
And
whentheparticipationcomesafteraphaseofdisruptionandconflict,itbears
withinitselfthegermsofaconsummationakintotheesthetic.
Therhythmoflossofintegrationwithenvironmentandrecoveryofunionnot
onlypersistsinmanbutbecomesconsciouswithhimitsconditionsarematerial
outofwhichheformspurposes.
Emotionistheconscioussignofabreak,actual
orimpending.

Thediscordistheoccasionthatinducesreflection.

Desirefor
restorationoftheunionconvertsmereemotionintointerestinobjectsas
conditionsofrealizationofharmony.

Withtherealization,materialofreflectionis
incorporatedintoobjectsastheirmeaning.
Sincetheartistcaresinapeculiar
wayforthephaseofexperienceinwhichunionisachieved,hedoesnotshun
momentsofresistanceandtension.Herathercultivatesthem,notfortheown
sakes,butfortheirpotentialities,bringing
to
livingconsciousanexperiencethat
isunifiedandtotal.
Incontrastwiththepersonwhosepurposeisesthetic,the
scientificmanisinterestedinproblems,insituationswhereintensionbetween
thematterofobservationandofthoughtismarked
.Ofcoursehecaresfortheir
resolution.Buthedoesnotrestinithepassesontoanotherproblemusingan

attainedsolutiononlyasasteppingstonefromwhichtosetonfootfurther
inquiries.
Thedifferencebetweentheestheticandtheintellectualisthusoneofthe
placewhereemphasisfallsintheconstantrhythmthatmarkstheinteractionof
thelivecreaturewithhissurroundings.Theultimatematterofbothemphasesin
experienceisthesame,asisalsotheirgeneralform.
Theoddnotionthatan
artistdoesnotthinkandascientificinquirerdoesnothingelseistheresultof
convertingadifferenceoftempoandemphasisintoadifferenceinkind.The
thinkerhashisestheticmomentwhenhisideasceasetobemereideasand
becomethecorporatemean

16

ARTASEXPERIENCE

ingsofobjects.Theartisthashisproblemsandthinksasheworks.Buthis

thoughtismoreimmediatelyembodiedintheobject.Becauseofthe
comparativeremotenessofhisend,thescientificworkeroperateswithsymbols,
wordsandmathematicalsigns.Theartistdoeshisthinkingintheveryqualitative
mediaheworksin,andthetermsliesoclosetotheobjectthatheisproducing
thattheymergedirectlyintoit.
Theliveanimaldoesnothavetoprojectemotionsintotheobjects
experienced.Natureiskindandhateful,blandandmorose,irritatingand
comforting,longbeforesheismathematicallyqualifiedorevenacongeriesof
secondaryqualitieslikecolorsandtheirshapes.Evensuchwordsaslongand
short,solidandhollow,stillcarrytoall,butthosewhoareintellectually
specialized,amoralandemotionalconnotation.Thedictionarywillinformany
onewhoconsultsitthattheearlyuseofwordslikesweetandbitterwasnotto
denotequalitiesofsenseassuchbuttodiscriminatethingsasfavorableand
hostile.Howcoulditbeotherwise?Directexperiencecomesfromnatureand
maninteractingwitheachother.Inthisinteraction,humanenergygathers,is
released,dammedup,frustratedandvictorious.Therearerhythmicbeatsof
wantandfulfillment,pulsesofdoingandbeingwithheldfromdoing.
Allinteractionsthateffectstabilityandorderinthewhirlingfluxofchangeare
rhythms.Thereisebbandflow,systoleanddiastoleorderedchange.Thelatter
moveswithinbounds.Tooverpassthelimitsthataresetisdestructionand
death,outofwhich,however,newrhythmsarebuiltup.Theproportionate
interceptionofchangesestablishesanorderthatisspatially,notmerely
temporallypatterned:likethewavesofthesea,theripplesofsandwherewaves

haveflowedbackandforth,thefleecyandtheblackbottomedcloud.Contrastof
lackandfullness,ofstruggleandachievement,ofadjustmentafterconsummated
irregularity,formthedramainwhichaction,feeling,andmeaningareone.The
outcomeisbalanceandcounterbalance.Thesearenotstaticnormechanical.
Theyexpresspowerthatisintensebecausemeasuredthroughovercoming
resistance.Environingobjectsavailandcountervail.
Therearetwosortsofpossibleworldsinwhichesthetic
experiencewouldnotoccur.Inaworldofmereflux,change~

THELIVECREATURE

17

wouldnotbecumulativeitwouldnotmovetowardaclose.Stabilityandrest
wouldhavenobeing.Equallyisittrue,however,thataworldthatisfinished,
ended,wouldhavenotraitsofsuspenseandcrisis,andwouldofferno
opportunityforresolution.Whereeverythingisalreadycomplete,thereisno
fulfillment
.WeenvisagewithpleasureNirvanaandauniformheavenlyblissonly
becausetheyareprojecteduponthebackgroundofourpresentworldofstress
andconflict.Becausetheactualworld,thatinwhichwelive,isacombinationof
movementandculmination,ofbreaksandreunions,theexperienceofaliving
creatureiscapableofestheticquality.Thelivebeingrecurrentlylosesand
reestablishesequilibriumwithhissurroundings.Themomentofpassagefrom
disturbanceintoharmonyisthatofintensestlife.Inafinishedworld,sleepand
wakingcouldnotbedistinguished.Inonewhollyperturbed,conditionscouldnot
evenbestruggledwith.Inaworldmadeafterthepatternofours,momentsof
fulfillmentpunctuateexperiencewithrhythmicallyenjoyedintervals.
Innerharmonyisattainedonlywhen,bysomemeans,termsaremadewith
theenvironment.Whenitoccursonanyotherthananobjectivebasis,itis
illusoryinextremecasestothepointofinsanity.
Fortunatelyforvarietyin
experience,termsaremadeinmanywayswaysultimatelydecidedbyselective
interest.Pleasuresmaycomeaboutthroughchancecontactandstimulation
suchpleasuresarenottobedespisedinaworldfullofpain.Buthappinessand
delightareadifferentsortofthing.Theycometobethroughafulfillmentthat
reachestothedepthsofourbeingonethatisanadjustmentofourwholebeing
withtheconditionsofexistence.
Intheprocessofliving,attainmentofaperiodof
equilibriumisatthesametimetheinitiationofanewrelationtotheenvironment,

onethatbringswithitpotencyofnewadjustmentstobemadethroughstruggle.
Thetimeofconsummationisalsooneofbeginninganew.
Anyattemptto
perpetuatebeyonditstermtheenjoymentattendingthetimeoffulfillmentand
harmonyconstituteswithdrawalfromtheworld.Henceitmarkstheloweringand
lossofvitality.But,throughthephasesofperturbationandconflict,thereabides
thedeepseatedmemoryofanunderlyingharmony,thesenseofwhichhaunts
lifelikethesenseofbeingfoundedonarock.

I8

ARTASEXPERIENCE

Mostmortalsareconsciousthatasplitoftenoccursbetweentheirpresent

livingandtheirpastandfuture.Thenthepasthangsuponthemasaburdenit
invadesthepresentwithasenseofregret,ofopportunitiesnotused,andof
consequenceswewishundone.Itrestsuponthepresentasanoppression,
insteadofbeingastorehouseofresourcesbywhichtomoveconfidentlyforward.
Butthelivecreatureadoptsitspastitcanmakefriendswithevenitsstupidities,
usingthemaswarningsthatincreasepresentwariness.Insteadoftryingtolive
uponwhatevermayhavebeenachievedinthepast,itusespastsuccessesto
informthepresent.EverylivingexperienceowesitsrichnesstowhatSantayana
wellcallshushedreverberations.*
Tothebeingfullyalive,thefutureisnotominousbutapromiseitsurrounds
thepresentasahalo.Itconsistsofpossibilitiesthatarefeltasapossessionof
whatisnowandhere.
Inlifethatistrulylife,everythingoverlapsandmerges.
Butalltoooftenweexistinapprehensionsofwhatthefuturemaybring,andare
dividedwithinourselves.Evenwhennotoveranxious,wedonotenjoythe
presentbecausewesubordinateittothatwhichisabsent.Becauseofthe
frequencyofthisabandonmentofthepresenttothepastandfuture,thehappy
periodsofanexperiencethatisnowcompletebecauseitabsorbsintoitself
memoriesofthepastandanticipationsofthefuture,cometoconstitutean
estheticideal.
Onlywhenthepastceasestotroubleandanticipationsofthe
futurearenotperturbingisabeingwhollyunitedwithhisenvironmentand
thereforefullyalive.Artcelebrateswithpeculiarintensitythemomentsinwhich
thepastreinforcesthepresentandinwhichthefutureisaquickeningofwhat
nowis.

(Iagreewiththequickeningqualityofanticipation,butnotwithDeweysclaim
thatitcannotbeperturbinginorderforustobetrulyalive.Deweyoftenseems
toplaceapositivevalenceontheendpointofaestheticexperience.Isuppose
thattermssuchasfulfillmentorconsummationaremorepositivethannegative.)
Tograspthesourcesofestheticexperienceitis,therefore,necessarytohave
recoursetoanimallifebelowthehumanscale.

Thesefamiliarflowers,thesewellrememberedbirdnotes,thisskywithits

fitfulbrightness,thesefurrowedandgrassyfields,eachwithasortofpersonality
giventoitbythecapricioushedge,suchthingsasthesearethemothertongue
ofourimagination,thelanguagethatisladenwithallthesubtleinextricable
associationsthefleetinghoursofourchildhoodleftbehindthem.Ourdelightin
thesunshineonthedeepbladedgrasstodaymightbenomorethanthefaint
perceptionofweariedsouls,ifitwerenotforthesunshineandgrassoffaroff
years,whichstillliveinusandtransformourperceptionintolove.GeorgeEliot
inTheMillontheFloss.

THELIVECREATURE

19

Theactivitiesofthefox,thedog,andthethrushmayatleaststandas
remindersandsymbolsofthatunityofexperiencewhichwesofractionizewhen
workislabor,andthoughtwithdrawsusfromtheworld.
Theliveanimalisfully
present,allthere,inallofitsactions:initswaryglances,itssharpsniffings,its
abruptcockingofears.Allsensesareequallyonthe
quivive.

Asyouwatch,
youseemotionmergingintosenseandsenseintomotionconstitutingthat
animalgracesohardformantorival.
Whatthelivecreatureretainsfromthe
pastandwhatitexpectsfromthefutureoperateasdirectionsinthepresent.The
dogisneverpedanticnoracademicforthesethingsariseonlywhenthepastis
severedinconsciousnessfromthepresentandissetupasamodeltocopyora
storehouseuponwhichtodraw.Thepastabsorbedintothepresentcarriesonit
pressesforward.
Thereismuchinthelifeofthesavagethatissodden.But,whenthesavage
ismostalive,heismostobservantoftheworldabouthimandmosttautwith
energy.Ashewatcheswhatstirsabouthim,he,too,isstirred.Hisobservation
isbothactioninpreparationandforesightofthefuture.Heisasactivethrough~
aswhenhestalkshisquarryorstealthilyretreatsfromafoe.Hissensesare
sentinelsofimmediatethoughtandoutpostsofaction,andnot,astheysooften
arewithus,merepathwaysalongwhichmaterialisgatheredtobestoredaway
foradelayedandremotepossibility.
Itismereignorancethatleadsthentothesuppositionthatconnectionofart
andestheticperceptionwithexperiencesignifiesaloweringoftheirsignificance
anddignity.
Experienceinthedegreeinwhichit
is
experienceisheightened
vitality.Insteadofsignifyingbeingshutupwithinonesownprivatefeelingsand

sensations,itsignifiesactiveandalertcommercewiththeworldatitsheightit
signifiescompleteinterpenetrationofselfandtheworldofobjectsandevents.
I
nsteadofsignifyingsurrendertocapriceanddisorderitaffordsoursole
demonstrationofastabilitythatisnotstagnationbutisrhythmicanddeveloping.
Becauseexperienceisthefulfillmentofanorganisminitsstrugglesand
achievementsinaworldofthings,itisartingerm.Eveninitsrudimentaryforms,
itcontainsthepromiseofthatdelightfulperceptionwhichisestheticexperience.

CHAPTERII
THELIVECREATUREANDETHERIALTHINGS*

WHYIStheattempttoconnectthehigherandidealthingsofexperience
withbasicvitalrootssooftenregardedasbetrayaloftheirnatureanddenialof
theirvalue?Whyisthererepulsionwhenthehighachievementsoffineartare
broughtintoconnectionwithcommonlife,thelifethatwesharewithallliving
creatures?Whyislifethoughtofasanaffairoflowappetite,oratitsbestathing
ofgrosssensation,andreadytosinkfromitsbesttotheleveloflustandharsh
cruelty?Acompleteanswertothequestionwouldinvolvethewritingofahistory
ofmoralsthatwouldsetforththeconditionsthathavebroughtaboutcontemptfor
thebody,fearofthesenses,andtheoppositionoffleshtospirit.

Oneaspectofthishistoryissorelevanttoourproblemthatitmustreceive
atleastpassingnotice.Theinstitutionallifeofmankindismarkedby
disorganization.Thisdisorderisoftendisguisedbythefactthatittakestheform
ofstaticdivisionintoclasses,andthisstaticseparationisacceptedasthevery
essenceoforderaslongasitissofixedandsoacceptedasnottogenerate
openconflict.Lifeiscompartmentalizedandtheinstitutionalizedcompartments
areclassifiedashighandaslowtheirvaluesasprofaneandspiritual,as
materialandideal.Interestsarerelatedtooneanotherexternallyand
mechanically,throughasystemofchecksandbalances.Sincereligion,morals,
politics,businesshaseachitsowncompartment,withinwhichitisfittingeach
shouldremain,art,too,musthaveitspeculiarandprivaterealm.

Compartmentalizationofoccupationsandinterestsbringsaboutseparationof
thatmodeofactivitycommonlycalledprac

*TheSun,theMoon,theEarthanditscontents,arematerialtoform
greaterthings,thatis,etherialthingsgreaterthingsthantheCreatorhimself
made.JohnKeats.

ETHERIALTHINGS

21

ticefrominsight,ofimaginationfromexecutivedoing,ofsignificantpurpose
fromwork,ofemotionfromthoughtanddoing.Eachofthesehas,too,itsown
placeinwhichitmustabide.Thosewhowritetheanatomyofexperiencethen
supposethatthesedivisionsinhereintheveryconstitutionofhumannature.
Ofmuchofourexperienceasitisactuallylivedunderpresenteconomic
andlegalinstitutionalconditions,itisonlytootruethattheseseparationshold.
Onlyoccasionallyinthelivesofmanyarethesensesfraughtwiththesentiment
thatcomesfromdeeprealizationofintrinsicmeanings.Weundergosensations
asmechanicalstimuliorasirritatedstimulations,withouthavingasenseofthe
realitythatisinthemandbehindthem:inmuchofourexperienceourdifferent
sensesdonotunitetotellacommonandenlargedstory.Weseewithoutfeeling
wehear,butonlyasecondhandreport,secondhandbecausenotreinforcedby
vision.Wetouch,butthecontactremainstangentialbecauseitdoesnotfuse
withqualitiesofsensesthatgobelowthesurface.Weusethesensestoarouse
passionbutnottofulfiltheinterestofinsight,notbecausethatinterestisnot
potentiallypresentintheexerciseofsensebutbecauseweyieldtoconditionsof
livingthatforcesensetoremainanexcitationonthesurface.Prestigegoesto
thosewhousetheirmindswithoutparticipationofthebodyandwhoact
vicariouslythroughcontrolofthebodiesandlaborofothers.
Undersuchconditions,senseandfleshgetabadname.Themoralist,
however,hasatruersenseoftheintimateconnectionsofsensewiththerestof
ourbeingthanhastheprofessionalpsychologistandphilosopher,althoughhis
senseoftheseconnectionstakesadirectionthatreversesthepotentialfactsof
ourlivinginrelationtotheenvironment.Psychologistandphilosopherhavein

recenttimesbeensoobsessedwiththeproblemofknowledgethattheyhave
treatedsensationsasmereelementsofknowledge.Themoralistknowsthat
senseisalliedwithemotion,impulseandappetition.Sohedenouncesthelustof
theeyeaspartofthesurrenderofspirittoflesh.Heidentifiesthesensuouswith
thesensualandthesensualwiththelewd.Hismoraltheoryisaskew,butatleast
heisawarethattheeyeisnotanimperfecttelescopedesignedforintellectual
receptionofmaterialtobringaboutknowledgeofdistantobjects.

ARTASEXPERIENCE

Sensecoversawiderangeofcontents:thesensory,thesensational,the
sensitive,thesensible,andthesentimental,alongwiththesensuous.Itincludes
almosteverythingfrombarephysicalandemotionalshocktosenseitselfthat
is,themeaningofthingspresentinimmediateexperience.Eachtermrefersto
somerealphaseandaspectofthelifeofanorganiccreatureaslifeoccurs
throughsenseorgans.Butsense,asmeaningsodirectlyembodiedin
experienceastobeitsownilluminatedmeaning,istheonlysignificationthat
expressesthefunctionofsenseorganswhentheyarecarriedtofullrealization.
Thesensesaretheorgansthroughwhichthelivecreatureparticipatesdirectlyin
theongoingsoftheworldabouthim.Inthisparticipationthevariedwonderand
splendorofthisworldaremadeactualforhiminthequalitiesheexperiences.
Thismaterialcannotbeopposedtoaction,formotorapparatusandwillitself
arethemeansbywhichthisparticipationiscarriedonanddirected.Itcannotbe
opposedtointellect,formindisthemeansbywhichparticipationisrendered
fruitfulthroughsensebywhichmeaningsandvaluesareextracted,retained,
andputtofurtherserviceintheintercourseofthelivecreaturewithhis
surroundings.
Experienceistheresult,thesign,andtherewardofthatinteractionof
organismandenvironmentwhich,whenitiscarriedtothefull,isatransformation
ofinteractionintoparticipationandcommunication.Sincesenseorganswiththeir
connectedmotorapparatusarethemeansofthisparticipation,anyandevery
derogationofthem,whetherpracticalortheoretical,isatonceeffectandcause
ofanarrowedanddulledlifeexperience.Oppositionsofmindandbody,souland
matter,spiritandfleshallhavetheirorigin,fundamentally,infearofwhatlifemay
bringforth.Theyaremarksofcontractionandwithdrawal.Fullrecognition,

therefore,ofthecontinuityoftheorgans,needsandbasicimpulsesofthehuman
creaturewithhisanimalforbears,impliesnonecessaryreductionofmantothe
levelofthebrutes.Onthecontrary,itmakespossiblethedrawingofa
groundplanofhumanexperienceuponwhichiserectedthesuperstructureof
mansmarvelousanddistinguishingexperience.Whatisdistinctiveinman
makesitpossibleforhimtosinkbelowthelevelofthebeasts.Italsomakesit
possibleforhimtocarrytonewandunprecedentedheightsthatunityofsense
andimpulse,ofbrain

ETHERIALTHINGS

23

andeyeandear,thatisexemplifiedinanimallife,saturatingitwiththe
consciousmeaningsderivedfromcommunicationanddeliberateexpression.
Manexcelsincomplexityandminutenessofdifferentiations.Thisveryfact
constitutesthenecessityformanymorecomprehensiveandexactrelationships
amongtheconstituentsofhisbeing.Importantasarethedistinctionsand
relationsthusmadepossible,thestorydoesnotendhere.Therearemore
opportunitiesforresistanceandtension,moredraftsuponexperimentationand
invention,andthereforemorenoveltyinaction,greaterrangeanddepthof
insightandincreaseofpoignancyinfeeling.Asanorganismincreasesin
complexity,therhythmsofstruggleandconsummationinitsrelationtoits
environmentarevariedandprolonged,andtheycometoincludewithin
themselvesanendlessvarietyofsubrhythms.Thedesignsoflivingarewidened
andenriched.Fulfillmentismoremassiveandmoresubtlyshaded.
Spacethusbecomessomethingmorethanavoidinwhichtoroamabout,
dottedhereandtherewithdangerousthingsandthingsthatsatisfytheappetite.
Itbecomesacomprehensiveandenclosedscenewithinwhichareorderedthe
multiplicityofdoingsandundergoingsinwhichmanengages.Timeceasestobe
eithertheendlessanduniformfloworthesuccessionofinstantaneouspoints
whichsomephilosophershaveassertedittobe.It,too,istheorganizedand
organizingmediumoftherhythmicebbandflowofexpectantimpulse,forward
andretractedmovement,resistanceandsuspense,withfulfillmentand
consummation.itisanorderingofgrowthandmaturationsasJamessaid,we
learntoskateinsummerafterhavingcommencedinwinter.Timeas
organizationinchangeisgrowth,andgrowthsignifiesthatavariedseriesof

changeentersuponintervalsofpauseandrestofcompletionsthatbecomethe
initialpointsofnewprocessesofdevelopment.Likethesoil,mindisfertilized
whileitliesfallow,untilanewburstofbloomensues.
Whenaflashoflightningilluminesadarklandscape,thereisamomentary
recognitionofobjects.
Buttherecognitionisnotitselfamerepointintime.Itis
thefocalculminationoflong,slowprocessesofmaturation.itisthemanifestation
ofthecontinuityofanorderedtemporalexperienceinasuddendiscrete

24

ARTASEXPERIENCE

instantofclimax.Itisasmeaninglessinisolationaswouldbethedramaof
Hamletwereitconfinedtoasinglelineorwordwithnocontext.Butthephrase
therestissilenceisinfinitelypregnantastheconclusionofadramaenacted
throughdevelopmentintimesomaybethemomentaryperceptionofanatural
scene.Form,asitispresentinthefinearts,istheartofmakingclearwhatis
involvedintheorganizationofspaceandtimeprefiguredineverycourseofa
developinglifeexperience.
Momentsandplaces,despitephysicallimitationandnarrowlocalization,are
chargedwithaccumulationsoflonggatheringenergy.Areturntoasceneof
childhoodthatwasleftlongyearsbeforefloodsthespotwithareleaseofpentup
memoriesandhopes.Tomeetinastrangecountryonewhoisacasual
acquaintanceathomemayarouseasatisfactionsoacuteastobringathrill.
Mererecognitionsoccuronlywhenweareoccupiedwithsomethingelsethanthe
objectorpersonrecognized.Itmarkseitheraninterruptionorelseanintentto
usewhatisrecognizedasameansforsomethingelse.Tosee,toperceive,is
morethantorecognize.Itdoesnotidentifysomethingpresentintermsofapast
disconnectedfromit.Thepastiscarriedintothepresentsoastoexpandand
deepenthecontentofthelatter.Thereisillustratedthetranslationofbare
continuityofexternaltimeintothevitalorderandorganizationofexperience.
Identificationnodsandpasseson.Oritdefinesapassingmomentinisolation,it
marksadeadspotinexperiencethatismerelyfilledin.Theextenttowhichthe
processoflivinginanydayorhourisreducedtolabelingsituations,events,and
objectsassoandsoinmeresuccessionmarksthecessationofalifethatisa

consciousexperience.Continuitiesrealizedinanindividual,discrete,formare
theessenceofthelatter.
Artisthusprefiguredintheveryprocessesofliving.Abirdbuildsitsnestand
abeaveritsdamwheninternalorganicpressurescooperatewithexternal
materialssothattheformerarefulfilledandthelatteraretransformedina
satisfyingculmination.Wemayhesitatetoapplythewordart,since~udoubt
thepresenceofdirectiveintent.Butalldeliberation,allconsciousintent,grows
outofthingsonceperformedorganicallythroughtheinterplayofnatural
energies.Wereitnotso,artwouldbebuiltonquakingsands,nay,onunstable
air.Thedis.

ETHERIALThings 25

tinguishingcontributionofmanisconsciousnessoftherelationsfoundin
nature.Throughconsciousness,heconvertstherelationsofcauseandeffect
thatarefoundinnatureintorelationsofmeansandconsequence.Rather,
consciousnessitselfistheinceptionofsuchatransformation.Whatwasmere
shockbecomesaninvitationresistancebecomessomethingtobeusedin
changingexistingarrangementsofmattersmoothfacilitiesbecomeagenciesfor
executinganidea.Intheseoperations,anorganicstimulationbecomesthe
bearerofmeanings,andmotorresponsesarechangedintoinstrumentsof
expressionandcommunicationnolongeraretheymeremeansoflocomotion
anddirectreaction.Meanwhile,theorganicsubstratumremainsasthe
quickeninganddeepfoundation.Apartfromrelationsofcauseandeffectin
nature,conceptionandinventioncouldnotbe.Apartfromtherelationof
processesofrhythmicconflictandfulfillmentinanimallife,experiencewouldbe
withoutdesignandpattern.Apartfromorgansinheritedfromanimalancestry,
ideaandpurposewouldbewithoutamechanismofrealization.Theprimevalarts
ofnatureandanimallifearesomuchthematerial,and,ingrossoutline,somuch
themodelfortheintentionalachievementsofman,thatthetheologicallyminded
haveimputedconsciousintenttothestructureofnatureasman,sharingmany
activitieswiththeape,iswonttothinkofthelatterasimitatinghisown
performances.
Theexistenceofartistheconcreteproofofwhathasjustbeenstated
abstractly.Itisproofthatmanusesthematerialsandenergiesofnaturewith
intenttoexpandhisownlife,andthathedoessoinaccordwiththestructureof
hisorganismbrain,senseorgans,andmuscularsystem.Artisthelivingand

concreteproofthatmaniscapableofrestoringconsciously,andthusonthe
planeofmeaning,theunionofsense,need,impulseandactioncharacteristicof
thelivecreature.Theinterventionofconsciousnessaddsregulation,powerof
selection,andredisposition.Thusitvariestheartsinwayswithoutend.Butits
interventionalsoleadsintimetothe
idea
ofartasaconsciousideathe
greatestintellectualachievementinthehistoryofhumanity.
ThevarietyandperfectionoftheartsinGreeceledthinkerstoframea
generalizedconceptionofartandtoproject

26

ARTASEXPERIENCE

theidealofanartoforganizationofhumanactivitiesassuchtheartof
politicsandmoralsasconceivedbySocratesandPlato.Theideasofdesign,
plan,order,pattern,purposeemergedindistinctionfromandrelationtothe
materialsemployedintheirrealization.Theconceptionofmanasthebeingthat
usesartbecameatoncethegroundofthedistinctionofmanfromtherestof
natureandofthebondthattieshimtonature.Whentheconceptionofartasthe
distinguishingtraitofmanwasmadeexplicit,therewasassurancethat,shortof
completerelapseofhumanitybelowevensavagery,thepossibilityofinventionof
newartswouldremain,alongwithuseofoldarts,astheguidingidealof
mankind.Althoughrecognitionofthefactstillhalts,becauseoftraditions
establishedbeforethepowerofartwasadequatelyrecognized,scienceitselfis
butacentralartauxiliarytothegenerationandutilizationofotherarts.*
Itiscustomary,andfromsomepointsofviewnecessary,tomakea
distinctionbetweenfineartandusefulortechnologicalart.Butthepointofview
fromwhichitisnecessaryisonethatisextrinsictotheworkofartitself.The
customarydistinctionisbasedsimplyonacceptanceofcertainexistingsocial
conditions.Isupposethefetichesofthenegrosculptorweretakentobeusefulin
thehighestdegreetohistribalgroup,moresoeventhanspearsandclothing.
Butnowtheyarefineart,servinginthetwentiethcenturytoinspirerenovations
inartsthathadgrownconventional.Buttheyarefineartonlybecausethe
anonymousartistlivedandexperiencedsofullyduringtheprocessofproduction.
Ananglermayeathiscatchwithouttherebylosingtheestheticsatisfactionhe
experiencedincastingandplaying.Itisthisdegreeofcompletenessoflivingin
theexperienceofmakingandofperceivingthatmakesthedifferencebetween

whatisfineorestheticinartandwhatisnot.Whetherthethingmadeisputto
use,asarebowls,rugs,garments,weapons,is,
intrinsically
speaking,amatter
ofindifference.Thatmany,perhapsmost,ofthearticlesandutensilsmadeat
presentforusearenotgenuinely
*IhavedevelopedthispointinExperienceandNature,inChapterNine,
onExperience,NatureandArt.As
far
asthepresentpointisconcerned,the
conclusioniscontainedinthestatementthatart,themodeofactivitythatis
chargedwithmeaningscapableofimmediatelyenjoyedpossession,isthe
completeculminationofnature,andthatscienceisproperlyahandmaidenthat
conductsnaturaleventstothishappyissue(P.358)

ETHERIALTHINGS

27

esthetichappens,unfortunately,tobetrue.Butitistrueforreasonsthatare
foreigntotherelationofthebeautifulandusefulassuch.Whereverconditions
aresuchastopreventtheactofproductionfrombeinganexperienceinwhich
thewholecreatureisaliveandinwhichhepossesseshislivingthrough
enjoyment,theproductwilllacksomethingofbeingesthetic.Nomatterhow
usefulitisforspecialandlimitedends,itwillnotbeusefulintheultimate
degreethatofcontributingdirectlyandliberallytoanexpandingandenriched
life.Thestoryoftheseveranceandfinalsharpoppositionoftheusefulandthe
fineisthehistoryofthatindustrialdevelopmentthroughwhichsomuchof
productionhasbecomeaformofpostponedlivingandsomuchofconsumption
asuperimposedenjoymentofthefruitsofthelaborofothers.

USUALLYthereisahostilereactiontoaconceptionofartthatconnectsit
withtheactivitiesofalivecreatureinitsenvironment.Thehostilitytoassociation
offineartwithnormalprocessesoflivingisapathetic,evenatragic,
commentaryonlifeasitisordinarilylived.Onlybecausethatlifeisusuallyso
stunted,aborted,slack,orheavyladen,istheideaentertainedthatthereissome
inherentantagonismbetweentheprocessofnormallivingandcreationand
enjoymentofworksofestheticart.Afterall,eventhoughspiritualandmaterial
areseparatedandsetinoppositiontooneanother,theremustbeconditions
throughwhichtheidealiscapableofembodimentandrealizationandthisisall,
fundamentally,thatmattersignifies.Theverycurrencywhichtheoppositionhas
acquiredtestifies,therefore,toawidespreadoperationofforcesthatconvert
whatmightbemeansofexecutingliberalideasintooppressiveburdensandthat

causeidealstobelooseaspirationsinanuncertainandungrounded
atmosphere.
Whileartitselfisthebestproofoftheexistenceofarealizedandtherefore
realizable,unionofmaterialandideal,therearegeneralargumentsthatsupport
thethesisinhand.Wherevercontinuityispossible,theburdenofproofrests
uponthosewhoassertoppositionanddualism.Natureisthemotherandthe

28

ARTASEXPERIENCE

habitatofman,evenifsometimesastepmotherandanunfriendlyhome.
Thefactthatcivilizationenduresandculturecontinuesandsometimes
advancesisevidencethathumanhopesandpurposesfindabasisandsupport
innature.Asthedevelopinggrowthofanindividualfromembryotomaturityis
theresultofinteractionoforganismwithsurroundings,socultureistheproduct
notofeffortsofmenputforthinavoidorjustuponthemselves,butofprolonged
andcumulativeinteractionwithenvironment.Thedepthoftheresponsesstirred
byworksofartshows
their
continuitywiththeoperationsofthisenduring
experience.Theworksandtheresponsestheyevokearecontinuouswiththe
veryprocessesoflivingasthesearecarriedtounexpectedhappyfulfillment.
Astoabsorptionoftheestheticinnature,Iciteacaseduplicatedinsome
measureinthousandsofpersons,butnotablebecauseexpressedbyanartistof
thefirstorder,W.H.Hudson.IfeelwhenIamoutofsightofliving,growing
grass,andoutofthesoundofbirdsvoicesandallruralsounds,thatIamnot
properlyalive.Hegoesontosay,.....whenIhearpeoplesaythattheyhavenot
foundtheworldandlifesoagreeableandinterestingastobeinlovewithit,or
thattheylookwithequanimitytoitsend,Iamapttothinkthattheyhavenever
beenproperlyalive,norseenwithclearvisiontheworldtheythinksomeanlyof
oranythinginitnotevenabladeofgrass.Themysticaspectofacuteesthetic
surrender,thatrendersitsoakinasanexperiencetowhatreligioniststerm
ecstaticcommunion,isrecalledbyHudsonfromhisboyhoodlife.Heisspeaking
oftheeffectthesightofacaciatreeshaduponhim.Theloosefeatheryfoliage
onmoonlightnightshadapeculiarhoaryaspectthatmadethistreeseemmore
intenselyalivethanothers,moreconsciousofmeandofmypresence....

Similartoafeelingapersonwouldhaveifvisitedbyasupernaturalbeingifhe
wasperfectlyconvincedthatitwasthereinhispresence,albeitsilentand
unseen,intentlyregardinghimanddiviningeverythoughtinhismind.Emerson
isoftenregardedasanausterethinker.ButitwasEmersonasanadultwhosaid,
quiteinthespiritofthepassagequotedfromHudson:Crossingabarecommon,
insnowpuddles,attwilight,underacloudedsky,withouthavinginmythought
anyoccurrenceofspecialgood

ETHERIALTHINGS

29

fortune,Ihaveenjoyedaperfectexhilaration.Iamgladtothebrinkof
fear.
Idonotseeanywayofaccountingforthemultiplicityofexperiencesof
thiskind(somethingofthesamequalitybeingfoundineveryspontaneousand
uncoercedestheticresponse),exceptonthebasisthattherearestirredinto
activityresonancesofdispositionsacquiredinprimitiverelationshipsoftheliving
beingtoitssurroundings,andirrecoverableindistinctorintellectual
consciousness.Experiencesofthesortmentionedtakeustoafurther
considerationthattestifiestonaturalcontinuity.Thereisnolimittothecapacityof
immediatesensuousexperiencetoabsorbintoitselfmeaningsandvaluesthatin
andofthemselvesthatisintheabstractwouldbedesignatedidealand
spiritual.Theanimisticstrainofreligiousexperience,embodiedinHudsons
memoryofhischildhooddays,isaninstanceononelevelofexperience.Andthe
poetical,inwhatevermedium,isalwaysaclosekinoftheanimistic.Andifwe
turntoanartthatinmanywaysisattheotherpole,architecture,welearnhow
ideas,wroughtoutatfirstperhapsinhighlytechnicalthoughtlikethatof
mathematics,arecapableofdirectincorporationinsensuousform.Thesensible
surfaceofthingsisnevermerelyasurface.Onecandiscriminaterockfrom
flimsytissuepaperbythesurfacealone,socompletelyhavetheresistancesof
touchandthesoliditiesduetostressesoftheentiremuscularsystembeen
embodiedinvision.Theprocessdoesnotstopwithincarnationofothersensory
qualitiesthatgivedepthofmeaningtosurface.Nothingthatamanhasever
reachedbythehighestflightofthoughtorpenetratedbyanyprobinginsightis
inherentlysuchthatitmaynotbecometheheartandcoreofsense.

Thesameword,symbol,isusedtodesignateexpressionsofabstract
thought,asinmathematics,andalsosuchthingsasaflag,crucifix,thatembody
deepsocialvalueandthemeaningofhistoricfaithandtheologicalcreed.
Incense,stainedglass,thechimingofunseenbells,embroideredrobes
accompanytheapproachtowhatisregardedasdivine.Theconnectionofthe
originofmanyartswithprimitiveritualsbecomesmoreevidentwithevery
excursionoftheanthropologistintothepast.Onlythosewhoaresofarremoved
fromtheearlierexperiencesastomisstheirsensewillconcludethatritesand

30

ARTASEXPERIENCE

ceremoniesweremerelytechnicaldevicesforsecuringrain,sons,crops,
successinbattle.Ofcoursetheyhadthismagicalintent,buttheywere
enduringlyenacted,wemaybesure,inspiteofallpracticalfailures,because
theywereimmediateenhancementsoftheexperienceofliving.Mythswere
somethingotherthanintellectualisticessaysofprimitivemaninscience.
Uneasinessbeforeanyunfamiliarfactdoubtlessplayeditspart.Butdelightin
thestory,inthegrowthandrenditionofagoodyarn,playeditsdominantpart
thenasitdoesinthegrowthofpopularmythologiestoday.Notonlydoesthe
directsenseelementandemotionisamodeofsensetendtoabsorball
ideationalmatterbut,apartfromspecialdisciplineenforcedbyphysical
apparatus,itsubduesanddigestsallthatismerelyintellectual.
Theintroductionofthesupernaturalintobeliefandthealltoohumaneasy
reversiontothesupernaturalismuchmoreanaffairofthepsychologythat
generatesworksofartthanofeffortatscientificandphilosophicexplanation.It
intensifiesemotionalthrillandpunctuatestheinterestthatbelongstoallbreakin
familiarroutine.Weretheholdofthesupernaturalonhumanthoughtan
exclusivelyorevenmainlyintellectualmatter,itwouldbecomparatively
insignificant.Theologiesandcosmogonieshavelaidholdofimaginationbecause
theyhavebeenattendedwithsolemnprocessions,incense,embroideredrobes,
music,theradianceofcoloredlights,withstoriesthatstirwonderandinduce
hypnoticadmiration.Thatis,theyhavecometomanthroughadirectappealto
senseandtosensuousimagination.Mostreligionshaveidentifiedtheir
sacramentswiththehighestreachesofart,andthemostauthoritativebeliefs
havebeenclothedinagarbofpompandpageantrythatgivesimmediatedelight

toeyeandearandthatevokesmassiveemotionsofsuspense,wonder,and
awe.Theflightsofphysicistsandastronomerstodayanswertotheestheticneed
forsatisfactionoftheimaginationratherthantoanystrictdemandofunemotional
evidenceforrationalinterpretation.
HenryAdamsmadeitclearthatthetheologyofthemiddleagesisa
constructionofthesameintentasthatwhichwroughtthecathedrals.Ingeneral
thismiddleage,popularlydeemedtoexpresstheacmeofChristianfaithinthe
westernworld,isademonstrationofthepowerofsensetoabsorbthe

ETHERIALTHINGS

31

mosthighlyspiritualizedideas.Music,painting,sculpture,architecture,
dramaandromancewerehandmaidensofreligion,asmuchaswerescience
andscholarship.Theartshardlyhadabeingoutsideofthechurch,andtherites
andceremoniesofthechurchwereartsenactedunderconditionsthatgavethem
themaximumpossibleofemotionalandimaginativeappeal.ForIdonotknow
whatwouldgivethespectatorandauditorofthemanifestationoftheartsamore
poignantsurrenderthantheconvictionthattheywereinformedwiththe
necessarymeansofeternalgloryandbliss.
ThefollowingwordsofPaterareworthquotinginthisconnection.The
Christianityofthemiddleagesmadeitswaypartlybyitsestheticbeauty,athing
soprofoundlyfeltbytheLatinhymnwriters,
whoforonemoralorspiritual
sentimenthadahundredsensuousimages.
Apassionofwhichtheoutletsare
sealedbegetsatensionofnerveinwhichthesensibleworldcomestoonewitha
reinforcedbrilliancyandreliefallrednessturnedintoblood,allwaterintotears.
Henceawildconvulsedsensuousnessinallthepoetryofthemiddleages,in
whichthethingsofnaturebegantoplayastrangedeliriouspart.Ofthethingsof
nature,themedievalmindhadadeepsensebutitssenseofthemwasnot
objective,norealescapetotheworldwithoutus.
Inhisautobiographicalessay,
TheChildintheHouse,
hegeneralizes
whatisimplicitinthispassage.Hesays:Inlateryearshecameupon
philosophieswhichoccupiedhimmuchintheestimateoftheproportionsofthe
sensuousandidealelementsinhumanknowledge,therelativepartstheybearin
itand,inhisintellectualscheme,wasledtoassignverylittletotheabstract
thought,andmuchtoitssensiblevehicleoroccasion.Thelatterbecamethe

necessaryconcomitantofanyperceptionofthings,realenoughtohaveany
weightorreckoning,inhishouseofthought...Hecamemoreandmoretobe
unabletocarefor,orthinkofsoulbutasinanactualbody,orofanyworldbut
thatwhereinarewaterandtrees,andwheremenandwomenlook,soorso,and
pressactualhands.Theelevationoftheidealaboveandbeyondimmediate
sensehasoperatednotonlytomakeitpallidandbloodless,butithasacted,like
aconspiratorwiththesensualmind,toimpoverishanddegradeallthingsof
directexperience.

32

ARTASEXPERIENCE

InthetitleofthischapterItookthelibertyofborrowingfromKeatsthe
wordetherialtodesignatethemeaningsandvaluesthatmanyphilosophers
andsomecriticssupposeareinaccessibletosense,becauseoftheirspiritual,
eternalanduniversalcharactersthusexemplifyingthecommondualismof
natureandspirit.
Letmerequotehiswords.TheartistmaylookupontheSun,
theMoon,theStars,andtheEarthanditscontentsasmaterialtoformgreater
things,thatisetherialthingsgreaterthingsthantheCreatorhimselfmade.In
makingthisuseofKeats,Ihadalsoinmindthefactthatheidentifiedtheattitude
oftheartistwiththatofthelivecreatureanddidsonotmerelyintheimplicit
tenorofhispoetrybutinreflectionexpressedtheideaexplicitlyinwords.Ashe
wroteinalettertohisbrother:Thegreaterpartofmenmaketheirwaywiththe
sameinstinctiveness,thesameunwanderingeyefromtheirpurposesasthe
Hawk.TheHawkwantsamate,sodoesthemanlookatthemboth,theyset
aboutandprocureoneinthesamemanner.Theybothwantanestandtheyboth
setaboutitinthesamemannertheygettheirfoodinthesamemanner.The
nobleanimalManforhisamusementsmokeshispipetheHawkbalances
aboutinthecloudsthisistheonlydifferenceoftheirleisures.Thisisthatwhich
makestheamusementofLifetoaspeculativemind.IgooutamongtheFields
andcatchaglimpseofaStoatorafieldmousehurryingalongtowhat?The
creaturehasapurposeandhiseyesarebrightwithit.Igoamongstthebuildings
ofacityandseeaManhurryingalongtowhat?TheCreaturehasapurpose
andhiseyesarebrightwithit.

EvenherethoughIampursuingthesameinstinctivecourseasthe
veriesthumananimalIcanthinkof[though]Iam,howeveryoung,writingat
randomstrainingatparticlesoflightinthemidstofgreatdarkness,without
knowingthebearingofanyassertion,ofanyoneopinion.YetmayInotinthisbe
freefromsin?Maytherenotbesuperiorbeingsamusedwithanygraceful,
thoughinstinctive,attitudemymindmayfallintoasIamentertainedwiththe
alertnessofaStoatortheanxietyofaDeer?Thoughaquarrelinthestreetsisto
behated,theenergiesdisplayedinitarefinethecommonestManhasagrace
inhisquarrel.SeenbyasupernaturalBeingourreasoningsmay

ETHERIALTHINGS

33

takethesametonethougherroneous,theymaybefine.
Thisistheverything
inwhichconsistspoetry.
Theremaybereasonings,butwhentheytakean
instinctiveform,likethatofanimalformsandmovements,theyarepoetry,they
arefinetheyhavegrace.
InanotherletterhespeaksofShakespeareasamanofenormous
NegativeCapabilityasonewhowascapableofbeinginuncertainties,
mysteries,doubts,withoutanyirritablereachingafterfactandreason.He
contrastsShakespeareinthisrespectwithhisowncontemporaryColeridge,who
wouldletapoeticinsightgowhenitwassurroundedwithobscurity,becausehe
couldnotintellectuallyjustifyitcouldnot,inKeatslanguage,besatisfiedwith
halfknowledge.Ithinkthesameideaiscontainedinwhathesays,inaletterto
Bailey,thatheneveryethasbeenabletoperceivehowanythingcanbeknown
fortruthbyconsecutivereasoning....CanitbethateventhegreatestPhilosopher
everarrivedathisGoalwithoutputtingasidenumerousobjections:asking,in
effect,Doesnotthereasonerhavealsototrusttohisintuitions,towhatcome
uponhiminhisimmediatesensuousandemotionalexperiences,evenagainst
objectionsthatreflectionpresentstohim.Forhegoesontosaythesimple
imaginativemindmayhaveitsrewardsintherepetitionsofitsownsilent
workingscomingcontinuallyontheSpiritwithafinesuddennessaremarkthat
containsmoreofthepsychologyofproductivethoughtthanmanytreatises.
InspiteoftheellipticalcharacterofKeatsstatementstwopointsemerge.
Oneofthemishisconvictionthatreasoningshaveanoriginlikethatofthe
movementsofawildcreaturetowarditsgoal,andtheymaybecome
spontaneous,instinctive,andwhentheybecomeinstinctivearesensuousand

immediate,poetic.Theothersideofthisconvictionishisbeliefthatno
reasoningasreasoning,thatis,asexcludingimaginationandsense,canreach
truth.Eventhegreatestphilosopherexercisesananimallikepreferenceto
guidehisthinkingtoitsconclusions.Heselectsandputs.asideashis
imaginativesentimentsmove.Reasonatitsheightcannotattaincomplete
graspandaselfcontainedassurance.Itmustfallbackuponimaginationupon
theembodimentofideasinemotionallychargedsense.
TherehasbeenmuchdisputeastowhatKeatsmeantinhisfamouslines:

34

ARTASEXPERIENCE

Beautyistruth,truthbeautythatisall
Yeknowonearth,andallyeneedtoknow,

andwhathemeantinthecognateprosestatementWhatimagination
seizesasbeautymustbetruth.Muchofthedisputeiscarriedoninignoranceof
theparticulartraditioninwhichKeatswroteandwhichgavethetermtruthits
meaning.Inthistradition,truthneversignifiescorrectnessofintellectual
statementsaboutthings,ortruthasitsmeaningisnowinfluencedbyscience.It
denotesthewisdombywhichmenlive,especiallytheloreofgoodandevil.And
inKeatsminditwasparticularlyconnectedwiththequestionofjustifyinggood
andtrustingtoitinspiteoftheevilanddestructionthatabound.Philosophyis
theattempttoanswerthisquestionrationally.Keatsbeliefthateven
philosopherscannotdealwiththequestionwithoutdependingonimaginative
intuitionsreceivesanindependentandpositivestatementinhisidentificationof
beautywithtruth
theparticulartruththatsolvesformanthebafflingproblem
ofdestructionanddeathwhichweighedsoconstantlyonKeatsinthevery
realmwherelifestrivestoassertsupremacy.Manlivesinaworldofsurmise,of
mystery,ofuncertainties.
Reasoningmustfailmanthisofcourseisadoctrine
longtaughtbythosewhohaveheldtothenecessityofadivinerevelation.Keats
didnotacceptthissupplementandsubstituteforreason.Theinsightof
imaginationmustsuffice.Thisisallyeknowonearthandallyeneedtoknow.
Thecriticalwordsareonearththatisamidasceneinwhichirritablereaching
afterfactandreasonconfusesanddistortsinsteadofbringingustothelight.It
wasinmomentsofmostintenseestheticperceptionthatKeatsfoundhisutmost

solaceandhisdeepestconvictions.Thisisthefactrecordedatthecloseofhis
Ode.

Ultimatelytherearebuttwophilosophies.Oneofthemacceptslifeand
experienceinallitsuncertainty,mystery,doubt,andhalfknowledgeandturns
thatexperienceuponitselftodeepenandintensifyitsownqualitiesto
imaginationandart.ThisisthephilosophyofShakespeareandKeats.

CHAPTERIII

HAVINGANEXPERIENCE

Experienceoccurscontinuously,becausetheinter
action
oflivecreatureand
environingconditionsisinvolvedintheveryprocessofliving.Underconditionsof
resistanceandconflict,aspectsandelementsoftheselfandtheworldthatare
implicatedinthisinter
action
qualifyexperiencewithemotionsandideassothat
consciousintentemerges.Oftentimes,however,theexperiencehadisinchoate.
Thingsareexperiencedbutnotinsuchawaythattheyarecomposedintoan
experience.Thereisdistr
action
anddispersionwhatweobserveandwhatwe
think,whatwedesireandwhatweget,areatoddswitheachother.Weputour
handstotheplowandturnbackwestartandthenwestop,notbecausethe
experiencehasreachedtheendforthesakeofwhichithasinitiatedbutbecause
ofextraneousinterruptionsorofinnerlethargy.

Incontrastwithsuchexperience,wehaveanexperiencewhenthematerial
experiencedrunsitscoursetofulfillment.

Thenandthenonlyisitintegrated
withinanddemarcatedinthegeneralstreamofexperiencefromother
experiences.Apieceofworkisfinishedinawaythatissatisfactoryaproblem
receivesitssolutionagameisplayedthroughasituation,whetherthatofeating
ameal,playingagameofchess,carryingonaconversation,writingabook,or
takingpartinapoliticalcampaign,issoroundedoutthatitscloseisa
consummationandnotacessation.

Suchanexperienceisawholeandcarries
withititsownindividualizingqualityandselfsufficiency.Itisanexperience.

Philosophers,evenempiricalphilosophers,havespokenforthemostpartof
experienceatlarge.Idiomaticspeech,however,referstoexperienceseachof

whichissingular,havingitsown

beginningandend.Forlifeisnouniform
uninterruptedmarchorflowItisathingofhistories,eachwithitsownplot,its
own

inceptionandmovementtowarditsclose,eachhavingitsownparticular
rhythmicmovementeachwithitsownunrepeated

qualitypervadingit
throughout.Aflightofstairs,mechanicalas

itis,proceedsbyindividualized
steps,notbyundifferentiated

progression,andaninclinedplaneisatleast
markedofffrom

otherthingsbyabruptdiscreteness.

Experienceinthisvitalsenseisdefinedbythosesituations

andepisodesthat
wespontaneouslyrefertoasbeing"realexperiences"thosethingsofwhichwe
sayinrecallingthem,"that

vasanexperience."Itmayhavebeensomethingof
tremendous

importanceaquarrelwithonewhowasonceanintimate,a
catastrophefinallyavertedbyahair'sbreadth.Oritmayhavebeensomething
thatincomparisonwasslightandwhichperhapsbecauseofitsveryslightness
illustratesallthebetterwhatistobeanexperience.ThereisthatmealinaParis
restaurant

ofwhichonesays"thatwasanexperience."Itstandsoutasan
enduringmemorialofwhatfoodmaybe.Thenthereisthatstorm

onewent
throughincrossingtheAtlanticthestormthatseemed

initsfury,asitwas
experienced,tosumupinitselfallthata

stormcanbe,completeinitself,
standingoutbecausemarkedout

fromwhatwentbeforeandwhatcameafter.

Insuchexperiences,everysuccessivepartflowsfreely,withoutseamand
withoutunfilledblanks,intowhatensues.At

thesametimethereisnosacrificeof
theselfidentityoftheparts.

Ariver,asdistinctfromapond,flows.Butitsflow
givesadefinitenessandinteresttoitssuccessiveportionsgreaterthanexistin
thehomogenousportionsofapond.Inanexperience,flowisfromsomethingto

something.Asonepartleadsintoanotherandas

onepartcarriesonwhatwent
before,eachgainsdistinctnessin

itself.Theenduringwholeisdiversifiedby
successivephasesthat

areemphasesofitsvariedcolors.

Becauseofcontinuousmerging,therearenoholes,mechanicaljunctions,
anddeadcenterswhenwehaveanexperience.

Therearepauses,placesof
rest,buttheypunctuateanddefine

thequalityofmovement.Theysumupwhat
hasbeen
undergone
andpreventitsdissipationandidleevaporation.Continued
accelerationisbreathlessandpreventspartsfromgainingdistinction.Inawork
ofart,differentacts,episodes,occurrencesmeltandfuseintounity,andyetdo
notdisappearandlosetheirowncharacterastheydosojustasinagenial
conversationthereisacontinuousinterchangeandblending,andyeteach
speakernotonlyretainshisowncharacterbutmanifestsitmoreclearlythanis
hiswont.

Anexperiencehasaunitythatgivesititsname,that

meal,thatstorm,that
ruptureoffriendship.Theexistenceofthisunityisconstitutedbyasinglequality
thatpervadestheentireexperienceinspiteofthevariationofitsconstituent
parts.Thisunityisneitheremotional,practical,norintellectual,fortheseterms
namedistinctionsthat
reflection
canmakewithinit.Indiscourseabout
experience,wemustmakeuseoftheseadjectivesofinterpretation.

Ingoingover
anexperienceinmindafteritsoccurrence,wemayfindthatonepropertyrather
thananotherwassufficientlydominantsothatitcharacterizestheexperienceas
awhole.

Thereareabsorbinginquiriesandspeculationsthat

ascientificmanand
philosopherwillrecallas"experiences"intheemphaticsense.Infinalimportthey
areintellectual.Butintheiractualoccurrencetheywereemotionalaswellthey

werepurposiveandvolitional.Yettheexperiencewasnotasumofthese
differentcharacterstheywerelostinitasdistinctivetraits.Nothinkercanplyhis
occupationsaveasheisluredandrewardedbytotalintegralexperiencesthat
areintrinsicallyworthwhile.Withoutthemhewouldneverknowwhatitisreallyto
thinkandwouldbecompletelyatalossindistinguishingrealthoughtfromthe
spuriousarticle.
Thinkinggoesonintrainsofideas,buttheideasformatrain
onlybecausetheyaremuchmorethanwhatananalyticpsychologycallsideas.
Theyarephases,emotionallyandpracticallydistinguished,ofadeveloping
underlyingqualitytheyareitsmovingvariations,notseparateandindependent
likeLocke'sandHume'ssocalledideasandimpressions,butaresubtle
shadingsofapervadinganddevelopinghue.

Wesayofexperienceofthinkingthatwereachordrawaconclusion.
Theoreticalformulationoftheprocessisoftenmadeinsuchtermstoconceal
effectuallythesimilarityofconclusiontotheconsummatingphaseofevery
developingintegralexperience.

Theseformulationsapparentlytaketheircue
fromtheseparatepropositionsthatarepremissesandthepropositionthatisthe
conclusionastheyappearontheprintedpage.

Theimpressionisderivedthat
therearetwoindependentandreadymadeentitiesthatarethenmanipulatedso
astogive

risetoathird.Infact,inanexperienceofthinking,premisses

emerge
onlyasaconclusionbecomesmanifest.Theexperience,likethatofwatchinga
stormreachitsheightandgraduallysubside,

isoneofcontinuousmovementof
subjectmatters.Liketheocean

inthestorm,thereareaseriesofwaves
suggestionsreaching

outandbeingbrokeninaclash,orbeingcarriedonwards
bya

cooperativewave.
Ifaconclusionisreached,itisthatofamovementof

anticipationandcumulation
,onethatfinallycomesto

completion.A"conclusion"
isnoseparateandindependentthing

itistheconsummationofamovement
.

Henceanexperienceofthinkinghasitsownesthetic

quality.Itdiffersfrom
thoseexperiencesthatareacknowledged

tobeesthetic,butonlyinitsmaterials.
Thematerialofthefine

artsconsistsofqualitiesthatofexperiencehaving
intellectualconclusionaresignsorsymbolshavingnointrinsicquality

oftheir
own,butstandingforthingsthatmayinanotherexperiencebequalitatively
experienced.Thedifferenceisenormous.

Itisonereasonwhythestrictly
intellectualartwillneverbepopularasmusicispopular.
Nevertheless,the
experience

itselfhasasatisfyingemotionalqualitybecauseitpossessesinternal
integrationandfulfillmentreachedthroughorderedand

organizedmovement.
Thisartisticstructuremaybeimmediately

felt.Insofar,itisesthetic.
Whatis
evenmoreimportantisthat

notonlyisthisqualityasignificantmotivein
undertakingintellectualinquiryandinkeepingithonest,butthatnointellectual
activityisanintegralevent(isanexperience),unlessitis

roundedoutwiththis
quality.Withoutit,thinkingisinconclusive.Inshort,estheticcannotbesharply
markedofffromintellectualexperiencesincethelattermustbearanesthetic
stamp

tobeitselfcomplete.

Thesamestatementholdsgoodofacourseof
action
that

isdominantly
practical,thatis,onethatconsistsofovert
doing
s.

Itispossibletobeefficientin
action
andyetnothaveaconsciousexperience.Theactivityistooautomaticto
permitofa

senseofwhatitisaboutandwhereitisgoing.Itcomestoan

endbut
nottoacloseorconsummationinconsciousness.0bstaclesareovercomeby
shrewdskill,buttheydonotfeedexperience.Therearealsothosewhoare

waveringin
action
,uncertain,andinconclusiveliketheshadesinclassic
literature.Betweenthepolesofaimlessnessandmechanicalefficiency,therelie
thosecoursesof
action
inwhichthroughsuccessivedeedsthererunsa

senseof
growingmeaningconservedandaccumulatingtowardanendthatisfeltas
accomplishmentofaprocess.Successfulpoliticiansandgeneralswhoturn
statesmenlikeCaesarandNapoleonhavesomethingoftheshowmanabout
them.Thisofitselfisnotart,butitis,Ithink,asignthatinterestisnotexclusively,
perhapsnotmainly,heldbytheresulttakenbyitself(asitisinthecaseofmere
efficiency),butbyitastheoutcomeofaprocess.Thereisinterestincompleting
anexperience.Theexperiencemaybeonethatisharmfultotheworldandits
consummationundesirable.Butithasestheticquality.

TheGreekidentificationofgoodconductwithconducthavingproportion,
grace,andharmony,theKalonagathon,isamoreobviousexampleofdistinctive
estheticqualityinmoral
action
.Onegreatdefectinwhatpassesasmoralityisits
anestheticquality.Insteadofexemplifyingwholehearted
action
,ittakestheform
ofgrudgingpiecemealconcessionstothedemandsofduty.Butillustrationsmay
onlyobscurethefactthatanypracticalactivitywill,providedthatitisintegrated
andmovesbyitsownurgetofulfillment,haveestheticquality.

Ageneralizedillustrationmaybehadifweimagineastone,whichisrolling
downhill,tohaveanexperience.Theactivityissurelysufficiently"practical."The
stonestartsfromsomewhere,andmoves,asconsistentlyasconditionspermit,
towardaplaceandstatewhereitwillbeatresttowardanend.
Letusadd,by
imagination,totheseexternalfacttheideasthatitlooks
forward
withdesireto
thefinaloutcomethatitisinterestedinthethingsitmeetsonitsway,conditions

thataccelerateandretarditsmovementwithrespecttotheirbearingontheend
thatitactsandfeelstowardthemaccordingtothehinderingorhelpingfunctionit
attributestothemandthatthefinalcomingtorestisrelatedtoallthatwent
beforeastheculminationofacontinuousmovement.
Thenthestonewouldhave
anexperience,andonewithestheticquality.

Ifweturnfromthisimaginarycasetoourownexperience,

weshallfindmuch
ofitisnearertowhathappenstotheactual

stonethanitistoanythingthatfulfills
theconditionsfancy

justlaiddown.Forinmuchofourexperiencewearenot
concernedwiththeconnectionofoneincidentwithwhatwentbefore

andwhat
comesafter.Thereisnointerestthatcontrolsattentive

rejectionorselectionof
whatshallbeorganizedintothedevelopingexperience.Thingshappen,butthey
areneitherdefinitelyincludednordecisivelyexcludedwedrift.Weyield
accordingtoexternalpressure,orevadeandcompromise.Therearebeginnings
andcessations,butnogenuineinitiationsandconcludings.

Onethingreplaces
another,butdoesnotabsorbitandcarryiton.Thereisexperience,butsoslack
anddiscursivethatitisnotanexperience.Needlesstosay,suchexperiences
areanesthetic.

Thusthenonestheticlieswithintwolimits.Atonepoleistheloose
successionthatdoesnotbeginatanyparticularplaceandthatendsinthesense
ofceasingatnoparticularplace.

Attheotherpoleisarrest,constriction,
proceedingfrompartshavingonlyamechanicalconnectionwithoneanother.
Thereexistssomuchofoneandtheotherofthesetwokindsofexperiencethat
unconsciouslytheycometobetakenasnormsofallexperience.Then,whenthe
estheticappears,itsosharplycontrastswiththepicturethathasbeenformedof

experience,thatitisimpossibletocombineitsspecialqualitieswiththefeatures
ofthepictureandtheestheticisgivenanoutsideplaceandstatus.Theaccount
thathasbeengivenofexperiencedominantlyintellectualandpracticalis
intendedtoshowthatthereisnosuchcontrastinvolvedinhavinganexperience
that,onthecontrary,noexperienceofwhateversortisaunityunlessithas
estheticquality.

Theenemiesoftheestheticareneitherthepracticalnortheintellectual.They
arethehumdrumslacknessoflooseendssubmissiontoconventioninpractice
andintellectualprocedure.Rigidabstinence,coercedsubmission,tightnesson
onesideanddissipation,incoherenceandaimlessindulgenceontheother,art
deviationsinoppositedirectionsfromtheunityofanexperience.

Somesuch
considerationsperhapsinducedAristotletoinvokethe"meanproportional"as
theproperdesignationofwhatisdistinctiveofbothvirtueandtheesthetic.He
wasformallycorrect.

"Mean"and"proportion"are,however,notselfexplanatory,
nottobetakenoverinapriormathematicalsense,butarepropertiesbelonging
toanexperiencethathasadevelopingmovementtowarditsownconsummation.

Ihaveemphasizedthefactthateveryintegralexperiencemovestowarda
close,anending,sinceitceasesonlywhentheenergiesactiveinithave
done
theirproperwork.Thisclosureofacircuitofenergyistheoppositeofarrest,of
stasis.Maturationandfixationarepolaropposites.Struggleandconflictmaybe
themselvesenjoyed,althoughtheyarepainful,
whentheyare

experiencedas
meansofdevelopinganexperiencemembersinthattheycarryit
forward
,not
justbecausetheyarethere.

Thereis,aswillappearlater,anelementof
undergoing
,ofsufferinginitslargesense,ineveryexperience.Otherwisethere

couldbenotakinginofwhatpreceded.For"takingin"inanyvitalexperienceis
somethingmorethanplacingsomethingonthe

topofconsciousnessoverwhat
waspreviouslyknown.Itinvolves

reconstructionwhichmaybepainful.Whether
thenecessary
undergoing
phaseisbyitselfpleasurableorpainfulisamatterof
particularconditions.Itisindifferenttothetotalestheticquality,

savethatthere
arefewintenseestheticexperiencesthatarewholly

gleeful.Theyarecertainly
nottobecharacterizedasamusing,

andastheybeardownuponustheyinvolve
asufferingthatis

nonethelessconsistentwith,indeedapartof,thecomplete
perceptionthatisenjoyed.

havespokenoftheestheticqualitythatroundsoutan

experienceinto
completenessandunityasemotional.Thereferencemaycausedifficulty.We
aregiventothinkingofemotions

asthingsassimpleandcompactasarethe
wordsbywhichwe

namethem.Joy,sorrow,hope,fear,anger,curiosity:are
treated

asifeachinitselfwereasortofentitythatentersfullmade

uponthe
scene,anentitythatmaylastalongtimeorashort

time,butwhoseduration,
whosegrowthandcareer,isirrelevant

toitsnature.Infactemotionsarequalities,
whentheyaresignificant,ofacomplexexperiencethatmovesandchanges.I
say,

whentheyaresignificant,forotherwisetheyarebuttheoutbreaksand
eruptionsofadisturbedinfant.Allemotionsare

qualificationsofadramaand
theychangeasthedramadevelops.

Personsaresometimessaidtofallinloveat
firstsight.Butwhat

theyfallintoisnotathingofthatinstant.Whatwouldlovebe
wereitcompressedintoamomentinwhichthereisnoroomforcherishingand
forsolicitude.

Theintimatenatureofemotionismanifestedintheexperienceof
onewatchingaplayonthestageorreadinganovel.Itattendsthedevelopment
ofaplotandaplotrequiresastage,aspace,whereintodevelopandtimein

whichtounfold.Experienceisemotionalbuttherearenoseparatethingscalled
emotionsinit.

Bythesametoken,emotionsareattachedtoeventsandobjectsintheir
movement.Theyarenot,saveinpathologicalinstances,private.Andevenan
"objectless"emotiondemandssomethingbeyonditselftowhichtoattachitself,
andthusitsoongeneratesadelusioninlackofsomethingreal.Emotionbelongs
ofacertaintytotheself.Butitbelongstotheselfthatisconcernedinthe
movementofeventstowardanissuethatisdesiredordisliked.Wejump
instantaneouslywhenwearescared,asweblushontheinstantwhenweare
ashamed.Butfrightandshamedmodestyarenotinthiscaseemotionalstates.
Ofthemselvestheyarebutautomaticreflexes.Inordertobecomeemotional
theymustbecomepartsofaninclusiveandenduringsituationthatinvolves
concernforobjectsandtheirissues.Thejumpoffrightbecomesemotionalfear
whenthereisfoundorthoughttoexistathreateningobjectthatmustbedealt
withorescapedfrom.Theblushbecomestheemotionofshamewhenfaperson
connects,inthought,an
action
hehasperformedwithanunfavorablere
action
tohimselfofsomeotherperson.

Physicalthingsfromfarendsoftheeartharephysicallytransportedand
physicallycausedtoactandreactupononeanotherintheconstructionofanew
object.Themiracleofmindisthatsomethingsimilartakesplaceinexperience
withoutphysicaltransportandassembling.Emotionisthemovingandcementing
force.Itselectswhatiscongruousanddyeswhatisselectedwithitscolor,
therebygivingqualitativeunitytomaterialsexternallydisparateanddissimilar.It
thusprovidesunityinandthroughthevariedpartsofanexperience.Whenthe

unityisofthesortalreadydescribed,theexperiencehasestheticcharactereven
thoughitisnot,dominantly,anestheticexperience.

Twomenmeetoneistheapplicantforaposition,whiletheotherhasthe
dispositionofthematterinhishands.Theinterviewmaybemechanical,
consistingofsetquestions,therepliestowhichperfunctorilysettlethematter.
Thereisnoexperienceinwhichthetwomenmeet,nothingthatisnota
repetition,bywayofacceptanceordismissal,ofsomethingwhichhashappened
ascoreoftimes.Thesituationisdisposedofasifitwereanexercisein
bookkeeping.Butaninterplaymaytakeplaceinwhichanewexperience
develops.Whereshouldwelookforanaccountofsuchanexperience?Notto
ledgerentriesnoryettoatreatiseoneconomicsorsociologyor
personnelpsychology,buttodramaorfiction.Itsnatureandimportcanbe
expressedonlybyart,becausethereisaunityofexperiencethatcanbe
expressedonlyasanexperience.Theexperienceisofmaterialfraughtwith
suspenseandmovingtowarditsownconsummationthroughaconnectedseries
ofvariedincidents.

Theprimaryemotionsonthepartoftheapplicantmaybeat
thebeginninghopeordespair,andelationordisappointmentatthedose.These
emotionsqualifytheexperienceasaunity.Butastheinterviewproceeds,
secondaryemotionsareevolvedasvariationsoftheprimaryunderlyingoneItis
evenpossiblefor

eachattitudeandgesture,eachsentence,almosteveryword,
to

producemorethanafluctuationintheintensityofthebasic

emotionto
produce,thatis,achangeofshadeandtintinits

quality.Theemployerseesby
meansofhisownemotionalre
action
sthecharacteroftheoneapplying.He
projectshim

imaginativelyintotheworktobe
done
andjudgeshisfitnessby

the
wayinwhichtheelementsofthesceneassembleandeither

dashorfittogether.

Thepresenceandbehavioroftheapplicant

eitherharmonizewithhisown
attitudesanddesires,orthey

conflictandjar.Suchfactorsasthese,inherently
estheticin

quality,aretheforcesthatcarrythevariedelementsoftheinterviewto
adecisiveissue.Theyenterintothesettlementofevery

situation,whateverits
dominantnature,inwhichthereareuncertaintyandsuspense.

THEREare,therefore,commonpatternsinvariousexperiences,nomatter
howunliketheyaretooneanotherinthedetailsoftheirsubjectmatter.There
areconditionstobemetwithoutwhichanexperiencecannotcometobe.The
outlineofthecommonpatternissetbythefactthateveryexperienceistheresult
ofinter
action
betweenalivecreatureandsomeaspectoftheworldinwhichhe
lives.Amandoessomethinghelifts,letussay,astone.Inconsequencehe
undergoes,suffers,something:theweight,strain,textureofthesurfaceofthe
thinglifted.Thepropertiesthus
undergone
determinefurther
doing
.Thestone
istooheavyortooangular,notsolidenoughorelsetheproperties
undergone
showitisfitfortheuseforwhichitisintended.Theprocesscontinuesuntila
mutualadaptationoftheselfandtheobjectemergesandthatparticular
experiencecomestoaclose.

Whatistrueofthissimpleinstanceistrue,asto
form,ofeveryexperience.Thecreatureoperatingmaybeathinkerinhisstudy
andtheenvironmentwithwhichheinteractsmayconsistofideasinsteadofa
stone.Butinter
action
ofthetwoconstitutesthetotalexperiencethatishad,and
theclosewhichcompletesitistheinstitutionofafeltharmony.

Anexperiencehaspatternandstructure,becauseitisnotjust
doing
and
undergoing
inalternation,butconsistsoftheminrelationship.Toputone'shand
inthefirethatconsumesitisnotnecessarilytohaveanexperience.The
action

anditsconsequencemustbejoinedinperception.Thisrelationshipiswhatgives
meaningtograspitistheobjectiveofallintelligence.Thescopeandcontentof
therelationsmeasurethesignificantcontentofanexperience.Achild's
experiencemaybeintense,but,becauseoflackofbackgroundfrompast
experience,relationsbetween
undergoing
and
doing
areslightlygrasped,and
theexperiencedoesnothavegreatdepthorbreadth.Nooneeverarrivesat
suchmaturitythatheperceivesalltheconnectionsthatareinvolved.Therewas
oncewritten(byMr.Hinton)aromancecalled"TheUnlearner."Itportrayedthe
wholeendlessdurationoflifeafterdeathasalivingoveroftheincidentsthat
happenedinashortlifeonearth,incontinueddiscoveryoftherelationships
involvedamongthem.

Experienceislimitedbyallthecauseswhichinterferewithperceptionofthe
relationsbetween
undergoing
and
doing
.

Theremaybeinterferencebecause
ofexcessonthesideof
doing
orofexcessonthesideofreceptivity,of
undergoing
.Unbalanceoneithersideblurstheperceptionofrelationsand
leavestheexperiencepartialanddistorted,withscantorfalsemeaning.

Zealfor
doing
,lustfor
action
,leavesmanyaperson,especiallyinthishurriedand
impatienthumanenvironmentinwhichwelive,withexperienceofanalmost
incrediblepaucity,allonthesurface.Nooneexperiencehasachanceto
completeitselfbecausesomethingelseisentereduponsospeedily.Whatis
calledexperiencebecomessodispersedandmiscellaneousashardlytodeserve
thename.Resistanceistreatedasanobstructiontobebeatendown,notasan
invitationto
reflection
.Anindividualcomestoseek,unconsciouslyevenmore
thanbydeliberatechoice,situationsinwhichhecandothemostthingsinthe
shortesttime.


Experiencesarealsocutshortfrommaturingbyexcessofreceptivity.Whatis
prizedisthenthemere
undergoing
ofthisandthat,irrespectiveofperceptionof
anymeaning.Thecrowdingtogetherofasmanyimpressionsaspossibleis
thoughttobe

"life,"eventhoughnooneofthemismorethanaflittinganda
sipping.Thesentimentalistandthedaydreamermayhavemorefanciesand
impressionspassthroughtheirconsciousnessthanhasthemanwhoisanimated
bylustfor
action
.Buthisexperienceisequalitydistorted,becausenothingtakes
rootinmindwhenthereisnobalancebetween
doing
andreceiving.Some
decisive
action
isneededinordertoestablishcontactwiththerealitiesofthe
worldandinorderthatimpressionsmaybeso

relatedtofactsthattheirvalueis
testedandorganized.

Becauseperceptionofrelationshipbetweenwhatis
done
andwhatis
undergone
constitutestheworkofintelligence,andbecausetheartistis
controlledintheprocessofhisworkbyhisgraspoftheconnectionbetweenwhat
hehasalready
done
andwhatheistodonext,theideathattheartistdoesnot
thinkasintentlyandpenetratinglyasascientificinquirerisabsurd.

Apainter
mustconsciouslyundergotheeffectofhiseverybrushstrokeorhewillnotbe
awareofwhatheis
doing
andwherehisworkisgoing.Moreover,hehastosee
eachparticularconnectionof
doing
and
undergoing
inrelationtothewholethat
hedesirestoproduce.Toapprehendsuchrelationsistothink,andisoneofthe
mostexactingmodesofthought.Thedifferencebetweenthepicturesofdifferent
paintersisduequiteasmuchtodifferencesofcapacitytocarryonthisthought
asitistodifferencesofsensitivitytobarecolorandtodifferencesindexterityof
execution.

Asrespectsthebasicqualityofpictures,differencedepends,indeed,

moreuponthequalityofintelligencebroughttobearuponperceptionofrelations
thanuponanythingelsethoughofcourseintelligencecannotbeseparatedfrom
directsensitivityandisconnected,thoughinamoreexternalmanner,withskill.

Anyideathatignoresthenecessaryroleofintelligenceinproductionofworks
ofartisbaseduponidentificationofthinkingwithuseofonespecialkindof
material,verbalsignsandwords.Tothinkeffectivelyintermsofrelationsof
qualitiesisassevereademanduponthoughtastothinkintermsofsymbols,
verbalandmathematical.Indeed,sincewordsareeasilymanipulatedin
mechanicalways,theproductionofaworkofgenuineartprobablydemands
moreintelligencethandoesmostofthesocalledthinkingthatgoesonamong
thosewhopridethemselvesonbeing"intellectuals."

HAVEtriedtoshowinthesechaptersthattheestheticisnointruderin
experiencefromwithout,whetherbywayofidleluxuryortranscendentideality,
butthatitistheclarifiedandintensifieddevelopmentoftraitsthatbelongtoevery
normallycompleteexperience.ThisfactItaketobetheonlysecurebasisupon
whichesthetictheorycanbuild.Itremainstosuggestsomeoftheimplicationsof
theunderlyingfact.

WehavenowordintheEnglishlanguagethat
unambiguouslyincludeswhatissignifiedbythetwowords"artistic"and
"esthetic."Since"artistic"refersprimarilytotheactofproductionand"esthetic"to
thatofperceptionandenjoyment,theabsenceofatermdesignatingthetwo
processestakentogetherisunfortunate.Sometimes,theeffectistoseparatethe
twofromeachother,toregardartassomethingsuperimposeduponesthetic
material,or,upontheotherside,toanassumptionthat,sinceartisaprocessof
creation,perceptionandenjoymentofithavenothingincommonwiththe

creativeact.Inanycase,thereisacertainverbalawkwardnessinthatweare
compelledsometimestousetheterm"esthetic"tocovertheentirefieldand
sometimestolimitittothereceivingperceptualaspectofthewholeoperation.I
refertotheseobviousfactsaspreliminarytoanattempttoshowhowthe
conceptionofconsciousexperienceasaperceivedrelationbetween
doing
and
undergoing
enablesustounderstandtheconnectionthatartasproductionand
perceptionandappreciationasenjoymentsustaintoeachother.

Artdenotesaprocessof
doing
ormaking.Thisisastrueoffineasof
technologicalart.Artinvolvesmoldingofday,chippingofmarble,castingof
bronze,layingonofpigments,constructionofbuildings,singingofsongs,playing
ofinstruments,enactingrolesonthestage,goingthroughrhythmicmovements
inthedance.Everyartdoessomethingwithsomephysicalmaterial,thebodyor
somethingoutsidethebody,withorwithouttheuseofinterveningtools,andwith
aviewtoproductionofsomethingvisible,audible,ortangible.Somarkedisthe
activeor"
doing
"phaseofart,thatthedictionariesusuallydefineitintermsof
skilled
action
,abilityinexecution.TheOxfordDictionaryillustratesbya
quotationfromJohnStuartMill:"Art

isanendeavorafterperfectioninexecution"
whileMatthewArnoldcallsit"pureandflawlessworkmanship."

Theword"esthetic"refers,aswehavealreadynoted,to

experienceas
appreciative,perceiving,andenjoying.Itdenotes

theconsumer'sratherthanthe
producer'sstandpoint.ItisGusto,tasteand,aswithcooking,overtskillful
action
isonthesideofthecookwhoprepares,whiletasteisonthesideofthe
consumer,asingardeningthereisadistinctionbetweenthegardenerwhoplants
andtillsandthehouseholderwhoenjoysthefinishedproduct.


Theseveryillustrations,however,aswellastherelationthatexistsinhaving
anexperiencebetween
doing
and
undergoing
,indicatethatthedistinction
betweenestheticandartisticcannotbepressedsofarastobecomea
separation.Perfectioninexecutioncannotbemeasuredordefinedintermsof
executionitimpliesthosewhoperceiveandenjoytheproductthatisexecuted.
Thecookpreparesfoodfortheconsumerandthemeasureofthevalueofwhat
ispreparedisfoundinconsumption.Mereperfectioninexecution,judgedinits
owntermsinisolation,canprobablybeattainedbetterbyamachinethanby
humanart.

Byitself,itisatmosttechnique,andtherearegreatartistswhoare
notinthefirstranksastechnicians(witnessCzanne),justastherearegreat
performersonthepianowhoarenotgreatesthetically,andasSargentisnota
greatpainter.

Craftsmanshiptobeartisticinthefinalsensemustbe

"loving"itmustcare
deeplyforthesubjectmatteruponwhichskillisexercised.Asculptorcomesto
mindwhosebustsaremarvelouslyexact.Itmightbedifficulttotellinthe
presenceofaphotographofoneofthemandofaphotographoftheoriginal
whichwasofthepersonhimself.Forvirtuositytheyareremarkable.Butone
doubtswhetherthemakerofthebustshadanexperienceofhisownthathewas
concernedtohavethosesharewholookathisproducts.Tobetrulyartistic,a
workmustalsobeestheticthatis,framedforenjoyedreceptiveperception.I
Constantobservationis,ofcourse,necessaryforthemakerwhilerheis
producing.Butifhisperceptionisnotalsoestheticinnature,itisacolorlessand
coldrecognitionofwhathasbeen
done
,usedasastimulustothenextstepina
processthatisessentiallymechanical.


Inshort,art,initsform,unitestheverysamerelationof
doing
and
undergoing
,
outgoingandincomingenergy
,thatmakesanexperiencetobe
anexperience.Becauseofeliminationofallthatdoesnotcontributetomutual
organizationofthefactorsofboth
action
and
reception
intooneanother,and
becauseofselectionofjusttheaspectsandtraitsthatcontributetotheir
interpenetrationofeachother,theproductisaworkofestheticart.Manwhittles,
carves,sings,dances,gestures,molds,drawsandpaints.The
doing
or
making
isartisticwhentheperceivedresultisofsuchanaturethatitsqualitiesas
perceivedhavecontrolledthequestionofproduction.Theactofproducingthatis
directedbyintenttoproducesomethingthatisenjoyedintheimmediate
experienceofperceivinghasqualitiesthataspontaneousoruncontrolledactivity
doesnothave.Theartistembodiesinhimselftheattitudeoftheperceiverwhile
heworks.

Suppose,forthesakeofillustration,thatafinelywroughtobject,onewhose
textureandproportionsarehighlypleasinginperception,hasbeenbelievedto
beaproductofsomeprimitivepeople.Thenthereisdiscoveredevidencethat
provesittobeanaccidentalnaturalproduct.Asanexternalthing,itisnow
preciselywhatitwasbefore.Yetatonceitceasestobeaworkofartand
becomesanatural"curiosity."Itnowbelongsinamuseumofnaturalhistory,not
inamuseumofart.Andtheextraordinarythingisthatthedifferencethatisthus
madeisnotoneofjustintellectualclassification.Adifferenceismadein
appreciativeperceptionandinadirectway.Theestheticexperienceinitslimited
senseisthusseentobeinherentlyconnectedwiththeexperienceofmaking.

Thesensorysatisf
action
ofeyeandear,whenesthetic,issobecauseitdoes
notstandbyitselfbutislinkedtotheactivityofwhichitistheconsequence.Even
thepleasuresofthepalatearedifferentinqualitytoanepicurethaninonewho
merely"likes"hisfoodasheeatsitThedifferenceisnotofmereintensity.The
epicureisconsciousofmuchmorethanthetasteofthefood.Rather,thereenter
intothetaste,asdirectlyexperienced,qualitiesthatdependuponreferencetoits
sourceanditsmannerofproductioninconnectionwithcriteriaofexcellence.

As
productionmustabsorbintoitselfqualitiesoftheproductasperceivedandbe
regulatedbythem,so,ontheotherside,seeing,hearing,tasting,become
estheticwhenrelationtoadistinctmannerofactivityqualifieswhatisperceived.

Thereisanelementofpassioninallestheticperception.

Yetwhenweare
overwhelmedbypassion,asinextremerage,fear,jealousy,theexperienceis
definitelynonesthetic.Thereisnorelationshipfelttothequalitiesoftheactivity
thathasgeneratedthepassion.Consequently,thematerialoftheexperience
lackselementsofbalanceandproportion.Forthesecanbe

presentonlywhen,
asintheconductthathasgraceordignity,

theactiscontrolledbyanexquisite
senseoftherelationswhich

theactsustainsitsfitnesstotheoccasionandto
thesituation.

Theprocessofartinproductionisrelatedtotheesthetic

inperception
organicallyastheLordGodincreationsurveyed

hisworkandfounditgood.
Untiltheartistissatisfiedinperceptionwithwhatheis
doing
,hecontinues
shapingandreshaping.

Themakingcomestoanendwhenitsresultis
experiencedas

goodandthatexperiencecomesnotbymereintellectualand
outsidejudgmentbutindirectperception.Anartist,incomparisonwithhis

fellows,isonewhoisnotonlyespeciallygiftedin

powersofexecutionbutin
unusualsensitivitytothequalitiesofthings.Thissensitivityalsodirectshis
doing
sand
makings
.

Aswemanipulate,wetouchandfeel,aswelook,weseeaswelisten,we
hear.Thehandmoveswithetchingneedleorwithbrush.Theeyeattendsand
reportstheconsequenceofwhatis
done
.Becauseofthisintimateconnection,
subsequent
doing
iscumulativeandnotamatterofcapricenoryetofroutine.In
anemphaticartisticestheticexperience,therelationissoclosethatitcontrols
simultaneouslyboththe
doing
andtheperception.

Suchvitalintimacyof
connectioncannotbehadifonlyhandandeyeareengaged.Whentheydonot,
bothofthem,actasorgansofthewholebeing,thereisbutamechanical
sequenceofsenseandmovement,asinwalkingthatisautomatic.Handand
eye,whentheexperienceisesthetic,arebutinstrumentsthroughwhichthe
entirelivecreature,movedandactivethroughout,operates.Hencethe
expressionisemotionalandguidedbypurpose.

Becauseoftherelationbetweenwhatis
done
andwhatis
undergone
,there
isanimmediatesenseofthingsinperceptionasbelongingtogetherorasjarring
asreinforcingorasinterfering.
Theconsequencesoftheactofmakingas
reportedinsenseshowwhetherwhatis
done
carries
forward
theideabeing
executedormarksadeviationandbreak.
Inasfarasthedevelopmentofan
experienceiscontrolledthroughreferencetotheseimmediatelyfeltrelationsof
orderandfulfillment,thatexperiencebecomesdominantlyestheticinnature.The
urgeto
action
becomesanurgetothatkindof
action
whichwillresultinan
objectsatisfyingindirectperception.Thepottershapeshisclaytomakeabowl

usefulforholdinggrainbuthemakesitinawaysoregulatedbytheseriesof
perceptionsthatsumuptheserialactsofmaking,thatthebowlismarkedby
enduringgraceandcharm.Thegeneralsituationremainsthesameinpaintinga
pictureormoldingabust.
Moreover,ateachstagethereis
anticipation
ofwhatis
tocome.This
anticipation
istheconnectinglinkbetweenthenext
doing
andits
outcomeforsense.Whatis
done
andwhatis
undergone
arethusreciprocally,
cumulatively,andcontinuouslyinstrumentaltoeachother.

The
doing
maybeenergetic,andthe
undergoing
maybeacuteandintense.
Butunlesstheyarerelatedtoeachothertoformawholeinperception,thething
done
isnotfullyesthetic.

Themakingforexamplemaybeadisplayoftechnical
virtuosity,andthe
undergoing
sgushofsentimentorarevery.Iftheartistdoes
notperfectanewvisioninhisprocessof
doing
,heactsmechanicallyand
repeatssomeoldmodelfixedlikeablueprintinhismind.Anincredibleamount
ofobservationandofthekindofintelligencethatisexercisedinperceptionof
qualitativerelationscharacterizescreativeworkinart.Therelationsmustbe
notednotonlywithrespecttooneanother,twobytwo,butinconnectionwiththe
wholeunderconstructiontheyareexercisedinimaginationaswellasin
observation.Irrelevanciesarisethataretemptingdistr
action
sdigressions
suggestthemselvesintheguiseofenrichments.Thereareoccasionswhenthe
graspofthedominantideagrowsfaint,andthentheartistismoved
unconsciouslytofillinuntilhisthoughtgrowsstrongagain.Therealworkofan
artististobuildupanexperiencethatiscoherentinperceptionwhilemovingwith
constantchangeinitsdevelopment.

Whenanauthorputsonpaperideasthatarealreadyclearlyconceivedand
consistentlyordered,therealworkhasbeenpreviously
done
.Or,hemay
dependuponthegreaterperceptibilityinducedbytheactivityanditssensible
reporttodirecthiscompletionofthework.Themereactoftranscriptionis
estheticallyirrelevantsaveasitentersintegrallyintotheformationofan
experiencemovingtocompleteness.Eventhecompositionconceivedinthe
headand,therefore,physicallyprivate,ispublicinitssignificantcontent,sinceit
isconceivedwithreferencetoexecutioninaproductthatisperceptibleand
hencebelongstothecommonworld.Otherwiseitwouldbeanaberrationora
passingdream.Theurgetoexpressthroughpaintingtheperceivedqualitiesofa
landscapeiscontinuouswithdemandforpencilorbrush.Withoutexternal
embodiment,anexperienceremainsincompletephysiologicallyandfunctionally,
senseorgansaremotororgansandareconnected,bymeansofdistributionof
energiesinthehumanbodyandnotmerelyanatomically,withothermotor
organs.Itisnolinguisticaccidentthat"building,""construction,""work,"designate
bothaprocessanditsfinishedproduct.Withoutthemeaningoftheverbthatof
thenounremainsblank.

Writer,composerofmusic,sculptor,orpaintercanretrace,duringthe
processofproduction,whattheyhavepreviously
done
.Whenitisnot
satisfactoryinthe
undergoing
orperceptualphaseofexperience,
theycanto
somedegreestartafresh.Thisretracingisnotreadilyaccomplishedinthecase
ofarchitecturewhichisperhapsonereasonwhytherearesomanyugly
buildings.Architectsareobligedtocompletetheirideabeforeitstranslationintoa
completeobjectofperceptiontakesplace.Inabilitytobuildupsimultane6uslythe
ideaanditsobjectiveembodimentimposesahandicap.Nevertheless,theytoo

areobligedtothinkouttheirideasintermsofthemediumofembodimentandthe
objectofultimateperceptionunlesstheyworkmechanicallyandbyrote.
Probablytheestheticqualityofmedievalcathedralsisdueinsomemeasureto
thefactthattheirconstructionswerenotsomuchcontrolledbyplansand
specificationsmadeinadvanceasisnowthecase.Plansgrewasthebuilding
grew.ButevenaMinervalikeproduct,ifitisartistic,presupposesapriorperiod
ofgestationinwhich
doing
sandperceptionsprojectedinimaginationinteract
andmutuallymodifyoneanother.Everyworkofartfollowstheplanof,and
patternof,acompleteexperience,renderingitmoreintenselyandconcentratedly
felt.

Itisnotsoeasyinthecaseoftheperceiverandappreciatortounderstand
theintimateunionof
doing
and
undergoing
asitisinthecaseofthemaker.We
aregiventosupposingthattheformermerelytakesinwhatisthereinfinished
form,insteadofrealizingthatthistakingininvolvesactivitiesthatarecomparable
tothoseofthecreator.
Butreceptivityisnotpassivity.

It,too,isaprocess
consistingofaseriesofresponsiveactsthataccumulatetowardobjective
fulfillment.Otherwise,thereisnotperceptionbutrecognition.Thedifference
betweenthetwoisimmense.Recognitionisperceptionarrestedbeforeithasa
chancetodevelopfreely.Inrecognitionthereisabeginningofanactof
perception.Butthisbeginningisnotallowedtoservethedevelopmentofafull
perceptionofthethingrecognized.Itisarrestedatthepointwhereitwillserve
someotherpurpose,aswerecognizeamanonthestreetinordertogreetorto
avoidhim,notsoastoseehimforthesakeofseeingwhatisthere.

Inrecognitionwefallback,asuponastereotype,uponsomepreviously
formedscheme.Somedetailorarrangementofdetailsservesascueforbare
identification.Itsufficesinrecognitiontoapplythisbareoutlineasastenciltothe
presentobject.

Sometimesincontactwithahumanbeingwearestruckwith
traits,perhapsofonlyphysicalcharacteristics,ofwhichwewerenotpreviously
aware.Werealizethatweneverknewthepersonbeforewehadnotseenhimin
anypregnantsense.Wenowbegintostudyandto"takein."Perceptionreplaces
barerecognition.Thereisanactofreconstructive
doing
andconsciousness
becomesfreshandaliveThisactofseeinginvolvesthecooperationofmotor
elementseventhoughtheyremainimplicitanddonotbecomeovert,aswellas
cooperationofallfundedideasthatmayservetocompletethenewpicturethatis
forming.

Recognitionistooeasytoarousevividconsciousness.Thereisnot
enoughresistancebetweennewandoldtosecureconsciousnessofthe
experiencethatishad.Evenadogthatbarksandwagshistailjoyouslyon
seeinghismasterreturnismorefullyaliveinhisreceptionofhisfriendthanisa
humanbeingwhoiscontentwithmererecognition.

Barerecognitionissatisfiedwhenapropertagorlabelis

attached,"proper"
signifyingonethatservesapurposeoutside

theactofrecognitionasasalesman
identifieswaresbyasample.

Itinvolvesnostiroftheorganism,noinner
commotion.

Butanactofperceptionproceedsbywavesthatextendserially
throughouttheentireorganism.Thereis,therefore,nosuchthing

inperception
asseeingorhearingplusemotion.Theperceivedobjectorsceneisemotionally
pervadedthroughout.Whenan

arousedemotiondoesnotpermeatethematerial
thatisperceived

orthoughtof,itiseitherpreliminaryorpathological.

Theestheticor
undergoing
phaseofexperienceisreceptive.Itinvolves
surrender.Butadequateyieldingoftheselfispossiblyonlythroughacontrolled
activitythatmaywellbeintense.Inmuchofourintercoursewithour
surroundingswewithdrawsometimesfromfear,ifonlyofexpendingundulyour
storeofenergysometimesfrompreoccupationwithothermatters,asinthecase
ofrecognition.Perceptionisanactofthegoingoutofenergyinordertoreceive,
notawithholdingofenergy.Tosteepourselvesinasubjectmatterwehavefirst
toplungeintoit.

Whenweareonlypassivetoascene,itoverwhelmsusand,for
lackofansweringactivity,wedonotperceivethatwhichbearsusdown.We
mustsummonenergyandpitchitataresponsivekeyinordertotakein.

Everyoneknowsthatitrequiresapprenticeshiptoseethroughamicroscope
ortelescope,andtoseealandscapeasthearcheologistseesit.Theideathat
estheticperceptionisanaffairforoddmomentsisonereasonforthe
backwardnessofthearts

amongus.Theeyeandthevisualapparatusmaybe
intactthe

objectmaybephysicallythere,thecathedralofNotreDame,or
Rembrandt'sportraitofHendrikStoeffel.Insomebaldsense,

thelattermaybe
"seen."Theymaybelookedat,possiblyrecognized,andhavetheircorrect
namesattached.Butforlackof

continuousinter
action
betweenthetotal
organismandtheobjects,

theyarenotperceived,certainlynotesthetically.A
crowdof

visitorssteeredthroughapicturegallerybyaguide,withattention
calledhereandtheretosomehighpoint,doesnotperceive

onlybyaccidentis
thereeveninterestinseeingapictureforthe

sakeofsubjectmattervividly
realized.

Fortoperceive,abeholdermustcreatehisownexperience.Andhiscreation
mustincluderelationscomparabletothosewhichtheoriginalproducer
underwent.Theyarenotthesame

inanyliteralsense.Butwiththeperceiver,as
withtheartist,

theremustbeanorderingoftheelementsofthewholethatisin
form,althoughnotindetails,thesameastheprocessoforganizationthecreator
oftheworkconsciouslyexperienced.Without

anactofrecreationtheobjectis
notperceivedasaworkofart.

Theartistselected,simplified,clarified,abridged
andcondensed

accordingtohisinterest.Thebeholdermustgothroughthese
operationsaccordingtohispointofviewandinterest.Inboth,

anactof
abstr
action
,thatisofextr
action
ofwhatissignificant,

takesplace.Inboth,there
iscomprehensioninitsliteralsignificationthatis,agatheringtogetherofdetails
andparticulars

physicallyscatteredintoanexperiencedwhole.Thereiswork
done
onthepartofthepercipientasthereisonthepartofthe

artist.Theone
whoistoolazy,idle,orinduratedinconvention

toperformthisworkwillnotsee
orhear.His"appreciation"

willbeamixtureofscrapsoflearningwithconformity
tonorms

ofconventionaladmirationandwithaconfused,evenifgenuine,
emotionalexcitation.

THEconsiderationsthathavebeenpresentedimplyboththecommunityand
theunlikeness,becauseofspecificemphasis,ofanexperience,initspregnant
sense,andestheticexperience.Theformerhasestheticqualityotherwiseits
materialswouldnotberoundedoutintoasinglecoherentexperience.Itisnot
possibletodivideinavitalexperiencethepractical,emotional,andintellectual
fromoneanotherandtosetthepropertiesofoneoveragainstthecharacteristics
oftheothers.Theemotionalphasebindspartstogetherintoasinglewhole
"intellectual"simplynamesthefactthattheexperiencehasmeaning"practical"

indicatesthattheorganismisinteractingwitheventsandobjectswhichsurround
it.Themostelaboratephilosophicorscientificinquiryandthemostambitious
industrialorpoliticalenterprisehas,whenitsdifferentingredientsconstitutean
integralexperience,estheticquality.Forthenitsvariedpartsarelinkedtoone
another,anddonotmerelysucceedoneanother.Andthepartsthroughtheir
experiencedlinkagemovetowardaconsummationandclose,notmerelyto
cessationintime.
Thisconsummation,moreover,doesnotwaitinconsciousness
forthewholeundertakingtobefinished.Itis
anticipated
throughoutandis
recurrentlysavoredwithspecialintensity.

Nevertheless,theexperiencesinquestionaredominantlyintellectualor
practical,ratherthandistinctivelyesthetic,becauseoftheinterestandpurpose
thatinitiateandcontrolthem.Inanintellectualexperience,theconclusionhas
valueonitsownaccount.Itcanbeextractedasaformulaorasa"truth,"and
canbeusedinitsindependententiretyasfactorandguidein

otherinquiries.Ina
workofartthereisnosuchsingleselfsufficientdeposit.Theend,theterminus,
issignificantnotby

itselfbutastheintegrationoftheparts.Ithasnoother
existence.

Adramaornovelisnotthefinalsentence,evenifthecharactersare
disposedofaslivinghappilyeverafter.Idadistinctivelyestheticexperience,
characteristicsthataresubduedinotherexperiencesaredominantthosethat
aresubordinatearecontrollingnamely,thecharacteristicsinvirtueofwhichthe
experienceisanintegratedcompleteexperienceonitsownaccount.

Ineveryintegralexperiencethereisformbecausethereisdynamic
organization.Icalltheorganizationdynamicbecauseittakestimetocompleteit,
becauseitisagrowth.Thereisinception,development,fulfillment.Materialis

ingestedanddigestedthroughinter
action
withthatvitalorganizationofthe
resultsofpriorexperiencethatconstitutesthemindoftheworker.Incubation
goesonuntilwhatisconceivedisbroughtforthandisrenderedperceptibleas
partofthecommonworld.

Anestheticexperiencecanbecrowdedintoamoment
onlyinthesensethataclimaxofpriorlongenduringprocessesmayarriveinan
outstandingmovementwhichsosweepseverythingelseintoitthatallelseis
forgotten.Thatwhichdistinguishesanexperienceasestheticisconversionof
resistanceandtensions,ofexcitationsthatinthemselvesaretemptationsto
diversion,intoamovementtowardaninclusiveandfulfillingclose.

Experiencinglikebreathingisarhythmofintakingsandoutgivings.Their
successionispunctuatedandmadearhythmbytheexistenceofintervals,
periodsinwhichonephaseisceasingandtheotherisinchoateandpreparing.
WilliamJamesaptlycomparedthecourseofaconsciousexperiencetothe
alternateRightsandperchingsofabird.Theflightsandperchingsareintimately
connectedwithoneanothertheyarenotsomanyunrelatedlightingssucceeded
byanumberofequallyunrelatedhoppings.Eachrestingplaceinexperienceis
an
undergoing
inwhichisabsorbedandtakenhometheconsequencesofprior
doing
,and,unlessthe
doing
isthatofuttercapriceorsheerroutine,each
doing
carriesinitselfmeaningthathasbeenextractedandconserved.Aswiththe
advanceofanarmy,allgainsfromwhathasbeenalreadyeffectedare
periodicallyconsolidated,andalwayswithaviewtowhatistobe
done
next.If
wemovetoorapidly,wegetawayfromthebaseofsuppliesofaccrued
meaningsandtheexperienceisflustered,thin,andconfused.Ifwedawdletoo
longafterhavingextractedanetvalue,experienceperishesofinanition.

Theformofthewholeisthereforepresentineverymember.Fulfilling,
consummating,arecontinuousfunctions,notmereends,locatedatoneplace
only.Anengraver,painter,orwriterisinprocessofcompletingateverystageof
hiswork.Hemustateachpointretainandsumupwhathasgonebeforeasa
wholeandwithreferencetoawholetocome.Otherwisethereisnoconsistency
andnosecurityinhissuccessiveacts.Theseriesof

doing
sintherhythmof
experiencegivevarietyandmovementtheysavetheworkfrommonotonyand
uselessrepetitions.The
undergoing
sarethecorrespondingelementsinthe
rhythm,andtheysupplyunitytheysavetheworkfromtheaimlessnessofa
meresuccessionofexcitations.Anobjectispeculiarlyanddominantlyesthetic,
yieldingtheenjoymentcharacteristicofestheticperception,whenthefactorsthat
determineanythingwhichcanbecalledanexperienceareliftedhighabovethe
thresholdofperceptionandaremademanifestfortheirownsake.

CHAPTERIV

THEACTOFEXPRESSION

EVERYexperienceofslightortremendousimport,beginswithimpulsion,
as
animpulsionIsay
impulsion
ratherthanimpulseAnimpulseisspecialized
andparticularitis,evenwheninstinctive,simplyapartofthemechanism
involvedinamorecompleteadaptationwiththeenvironmentImpulsion
designatesamovementoutwardandforwardofthewholeorganismtowhich
specialimpulsesareauxiliary.Itisthecravingofthelivingcreatureforfoodas
distinctfromthereactionsoftongueandlipsthatareinvolvedinswallowingthe
turningtowardlightofthebodyasawhole,liketheheliotropismofplants,as
distinctfromthefollowingofaparticularlightbytheeyes.
Becauseitisthemovementoftheorganisminitsentirety,impulsionisthe
initialstageofanycompleteexperience.Observationofchildrendiscoversmany
specializedreactions.Buttheyarenot,therefore,inceptiveofcomplete
experiencesTheyenterintothelatteronlyastheyarewovenasstrandsintoan
activitythatcallsthewholeselfintoplay.Overlookingthesegeneralizedactivities
andpayingattentiononlytothedifferentiations,thedivisionsoflabor,which
renderthemmoreefficient,areprettymuchthesourceandcauseofallfurther
errorsintheinterpretationofexperience.
Impulsionsarethebeginningsofcompleteexperiencebecausetheyproceed
fromneedfromahungeranddemandthatbelongstotheorganismasawhole

andthatcanbesuppliedonlybyinstitutingdefiniterelations(activerelations,
interactions)withtheenvironment.Theepidermisisonlyinthemostsuperficial
wayanindicationofwhereanorganismendsanditsenvironmentbegins.There
arethingsinsidethebodythatareforeigntoit,andtherearethingsoutsideofit
thatbelongtoit
delure,
ifnotde
facto
thatmust,thatis,betakenpossession

THEACTOFEXPRESSION

59

ofiflifeistocontinue.Onthelowerscale,airandfoodmaterialsaresuch
thingsonthehigher,tools,whetherthepenofthewriterortheanvilofthe
blacksmith,utensilsandfurnishings,property,friendsandinstitutionsallthe
supportsandsustenanceswithoutwhichacivilizedlifecannotbe.Theneedthat
ismanifestintheurgentimpulsionsthatdemandcompletionthroughwhatthe
environmentanditalonecansupply,isadynamicacknowledgmentofthis
dependenceoftheselfforwholenessuponitssurroundings.
Itisthefateofalivingcreature,however,thatitcannotsecurewhatbelongs
toitwithoutanadventureinaworldthatasawholeitdoesnotownandtowhich
ithasnonativetitle.Whenevertheorganicimpulseexceedsthelimitofthebody,
itfindsitselfinastrangeworldandcommitsinsomemeasurethefortuneofthe
selftoexternalcircumstance.Itcannotpickjustwhatitwantsandautomatically
leavetheindifferentandadverseoutofaccount.If,andasfaras,theorganism
continuestodevelop,itishelpedonasafavoringwindhelpstherunner.Butthe
impulsionalsomeetsmanythingsonitsoutboundcoursethatdeflectand
opposeit.Intheprocessofconvertingtheseobstaclesandneutralconditions
intofavoringagencies,thelivecreaturebecomesawareoftheintentimplicitinits
impulsion.Theself,whetheritsucceedorfail,doesnotmerelyrestoreitselftoits
formerstate.Blindsurgehasbeenchangedintoapurposeinstinctive
tendenciesaretransformedintocontrivedundertakings.Theattitudesoftheself
areinformedwithmeaning.
Anenvironmentthatwasalwaysandeverywherecongenialtothe
straightawayexecutionofourimpulsionswouldsetatermtogrowthassurelyas
onealwayshostilewouldirritateanddestroy.Impulsionforeverboostedonits

forwardwaywouldrunitscoursethoughtless,anddeadtoemotion.Foritwould
nothavetogiveanaccountofitselfintermsofthethingsitencounters,and
hencetheywouldnotbecomesignificantobjects.The,onlywayitcanbecome
awareofitsnatureanditsgoalisbyobstaclessurmountedandmeans
employedmeanswhichareonlymeansfromtheverybeginningaretoomuch
onewithanimpulsion,onawaysmoothedandoiledinadvance,topermitof
consciousnessofthem.Norwithoutresistancefromsurroundingswouldtheself
becomeawareofitselfitwouldhaveneither

60

ARTASEXPERIENCE

feelingnorinterest,neitherfearnorhope,neitherdisappointmentnorelation.
Mereoppositionthatcompletelythwarts,createsirritationandrage.But
resistancethatcallsoutthoughtgeneratescuriosityandsolicitouscare,and,
whenitisovercomeandutilizedeventuatesmelation.
Thatwhichmerelydiscouragesachildandonewholacksamatured
backgroundofrelevantexperiencesisanincitementtointelligencetoplanand
convertemotionintointerest,onthepartofthosewhohavepreviouslyhad
experiencesofsituationssufficientlyakintobedrawnupon.Impulsionfromneed
startsanexperiencethatdoesnotknowwhereitisgoingresistanceandcheck
bringabouttheconversionofdirectforwardactionintoreflectionwhatisturned
backuponistherelationofhinderingconditionstowhattheselfpossessesas
workingcapitalinvirtueofpriorexperiences.Astheenergiesthusinvolved
reenforcetheoriginalimpulsion,thisoperatesmorecircumspectlywithinsight
intoendandmethod.Suchistheoutlineofeveryexperiencethatisclothedwith
meaning.
Thattensioncallsoutenergyandthattotallackofoppositiondoesnotfavor
normaldevelopmentarefamiliarfacts.Inageneralway,weallrecognizethata
balancebetweenfurtheringandretardingconditionsisthedesirablestateof
affairsprovidedthattheadverseconditionsbearintrinsicrelationtowhatthey
obstructinsteadofbeingarbitraryandextraneous.Yetwhatisevokedisnotjust
quantitative,orjustmoreenergy,butisqualitative,atransformationofenergy
intothoughtfulaction,throughassimilationofmeaningsfromthebackgroundof
pastexperiences.Thejunctionofthenewandoldisnotamerecompositionof
forces,butisarecreationinwhichthepresentimpulsiongetsformandsolidity

whiletheold,thestored,materialisliterallyrevived,givennewlifeandsoul
throughhavingtomeetanewsituation.

ITisthisdoublechangewhichconvertsanactivityintoanactofexpression.
Thingsintheenvironmentthatwouldotherwisebemeresmoothchannelsor
elseblindobstructionsbecomemeans,media.Atthesametime,thingsretained
frompastexperiencethatwouldgrowstalefromroutineorinertfromlack

THEACTOFEXPRESSION

61

ofuse,becomecoefficientsinnewadventuresandputonaraimentoffresh
meaning.Herearealltheelementsneededtodefineexpression.Thedefinition
willgainforceifthetraitsmentionedaremadeexplicitbycontrastwithalternative
situations.Notalloutgoingactivityisofthenatureofexpression.Atoneextreme,
therearestormsofpassionthatbreakthroughbarriersandthatsweepaway
whateverintervenesbetweenapersonandsomethinghewoulddestroy.There
isactivity,butnot,fromthestandpointoftheoneacting,expression.Anonlooker
maysayWhatamagnificentexpressionofragelButtheenragedbeingisonly
raging,quiteadifferentmatterfrom
expressing
rage.Or,again,somespectator
maysayHowthatmanisexpressinghisowndominantcharacterinwhatheis
doingorsaying.Butthelastthingthemaninquestionisthinkingofistoexpress
hischaracterheisonlygivingwaytoafitofpassion.Againthecryorsmileofan
infantmaybeexpressivetomotherornurseandyetnotbeanactofexpression
ofthebaby.Totheonlookeritisanexpressionbecauseittellssomethingabout
thestateofthechild.Butthechildisonlyengagedindoingsomethingdirectly,
nomoreexpressivefromhisstandpointthanisbreathingorsneezingactivities
thatarealsoexpressivetotheobserveroftheinfantscondition.
Generalizationofsuchinstanceswillprotectusfromtheerrorwhichhas
unfortunatelyinvadedesthetictheoryofsupposingthatthemeregivingwayto
animpulsion,nativeorhabitual,constitutesexpression.Suchanactis
expressivenotinitselfbutonlyinreflectiveinterpretationonthepartofsome
observerasthenursemayinterpretasneezeasthesignofanimpendingcold.
Asfarastheactitselfisconcerned,itis,ifpurelyimpulsive,justaboilingover.
Whilethereisnoexpression,unlessthereisurgefromwithinoutwards,the

wellingupmustbeclarifiedandorderedbytakingintoitselfthevaluesofprior
experiencesbeforeitcanbeanactofexpression.Andthesevaluesarenot
calledintoplaysavethroughobjectsoftheenvironmentthatofferresistanceto
thedirectdischargeofemotionandimpulse.Emotionaldischargeisanecessary
butnotasufficientconditionofexpression.
Thereisnoexpressionwithoutexcitement,withoutturmoil.Yetaninner
agitationthatisdischargedatonceinalaugh

62

ARTASEXPERIENCE

orcry,passesawaywithitsutterance.Todischargeistogetridof,to

dismisstoexpressistostayby,tocarryforwardindevelopment,toworkoutto
completion.Agushoftearsmaybringrelief,aspasmofdestructionmaygive
outlettoinwardrage.Butwherethereisnoadministrationofobjectiveconditions,
noshapingofmaterialsintheinterestofembodyingtheexcitement,thereisno
expression.Whatissometimescalledanactofselfexpressionmightbetterhe
termedoneofselfexposureitdisclosescharacterorlackofcharacterto
others.Initself,itisonlyaspewingforth.
Thetransitionfromanactthatisexpressivefromthestandpointofanoutside
observertooneintrinsicallyexpressiveisreadilyIllustratedbyasimplecase.At
firstababyweeps,justasitturnsitsheadtofollowlightthereisaninnerurge
butnothingtoexpress.Astheinfantmatures,helearnsthatparticularactseffect
differentconsequences,that,forexample,hegetsattentionifhecries,andthat
smilinginducesanotherdefiniteresponsefromthoseabouthim.Hethusbegins
tobeawareofthe
meaning
ofwhathedoes.Ashegraspsthemeaningofanact
atfirstperformedfromsheerinternalpressure,hebecomescapableofactsof
trueexpression.Thetransformationofsounds,babblings,lalling,andsoforth,
intolanguageisaperfectillustrationofthewayinwhichactsofexpressionare
broughtintoexistenceandalsoofthedifferencebetweenthemandmereactsof
discharge.
Thereissuggested,ifnotexactlyexemplified,insuchcasestheconnectionof
expressionwithart.Thechildwhohaslearnedtheeffecthisoncespontaneous
acthasuponthosearoundhimperformsonpurposeanactthatwasblind.He
beginstomanageandorderhisactivitiesinreferencetotheirconsequences.

Theconsequencesundergonebecauseofdoingareincorporatedasthe
meaningofsubsequentdoingsbecausetherelationbetweendoingand
undergoingisperceived.Thechildmaynowcryforapurpose,becausehewants
attentionorrelief.Hemaybegintobestowhissmilesasinducementsoras
favors.Thereisnowartinincipiency.Anactivitythatwas
naturalspontaneousandunintendedistransformedbecauseitis
undertakenasameanstoaconsciouslyentertainedconsequence.Such
transformationmarkseverydeedofart.Theresultofthetransformationmay

THEACTOFEXPRESSION

63

beartfulratherthanesthetic.Thefawningsmileandconventionalsmirkof
greetingareartifices.Butthegenuinelygraciousactofwelcomecontainsalsoa
changeofanattitudethatwasonceablindandnaturalmanifestationof
impulsionintoanactofart,somethingperformedinviewofitsplaceorrelationin
theprocessesofintimatehumanintercourse.
Thedifferencebetweentheartificial,theartful,andtheartisticliesonthe
surface.Intheformerthereisasplitbetweenwhatisovertlydoneandwhatis
intended.Theappearanceisoneofcordialitytheintentisthatofgainingfavor.
Whereverthissplitbetweenwhatisdoneanditspurposeexists,thereis
insincerity,atrick,asimulationofanactthatintrinsicallyhasanothereffect.
Whenthenaturalandthecultivatedblendinone,actsofsocialintercourseare
worksofart.Theanimatingimpulsionofgenialfriendshipandthedeed
performedcompletelycoincidewithoutintrusionofulteriorpurpose.
Awkwardnessmaypreventadequacyofexpression.Buttheskillfulcounterfeit,
howeverskilled,goes
through
theformofexpressionitdoesnothavetheform
offriendshipandabideinit.Thesubstanceoffriendshipisuntouched.
Anactofdischargeormereexhibitionlacksamedium.Instinctivecryingand
smilingnomorerequireamediumthandosneezingandwinking.Theyoccur
throughsomechannel,butthemeansofoutletarenotusedasimmanentmeans
ofanend.Theactthat
expresses
welcomeusesthesmile,theoutreachedhand,
thelightingupofthefaceasmedia,notconsciouslybutbecausetheyhave
becomeorganicmeansofcommunicatingdelightuponmeetingavaluedfriend.
Actsthatwereprimitivelyspontaneousareconvertedintomeansthatmake
humanintercoursemorerichandgraciousjustasapainterconvertspigment

intomeansofexpressinganimaginativeexperience.Danceandsportare
activitiesinwhichactsonceperformedspontaneouslyinseparationare
assembledandconvertedfromraw,crudematerialintoworksofexpressiveart.
Onlywherematerialisemployedasmediaisthereexpressionandart.Savage
taboosthatlooktotheoutsiderlikemereprohibitionsandinhibitionsexternally
imposedmaybetothosewhoexperiencethemmediaofexpressingsocial
status,dignity,andhonor.Everythingdependsuponthewayinwhichmaterialis
usedwhenitoperatesasmedium.

64ARTASEXPERIENCE

Theconnectionbetweenamediumandtheactofexpressionisintrinsic.An
actofexpressionalwaysemploysnaturalmaterial,thoughitmaybenaturalin
thesenseofhabitualaswellassothatofprimitiveornative.Itbecomesa
mediumwhenitisemployedinviewofitsplaceandrole,initsrelations,an
inclusivesituationastonesbecomemusicwhenorderedinamelody.The
sametonesmightbeutteredinconnectionwithanattitudeofjoy,surprise,or
sadness,andbenaturaloutletsofparticularfeelings.Theyare
expressive
ofone
oftheseemotionswhenothertonesarethemediuminwhichoneofthem
occurs.
Etymologically,anactofexpressionisasqueezingout,apressingforth.
Juiceisexpressedwhengrapesarecrushedinthewinepresstouseamore
prosaiccomparison,lardandoilarerenderedwhencertainfatsaresubjectedto
heatandpressure.Nothingispressedforthexceptfromoriginalrawornatural
material.Butitisequallytruethatthemereissuingforthordischargeofraw
materialisnotexpression.Throughinteractionwithsomethingexternaltoit,the
winepress,orthetreadingfootofman,juiceresults.Skinandseedsare
separatedandretainedonlywhentheapparatusisdefectivearethey
discharged.Eveninthemostmechanicalmodesofexpressionthereis
interactionandaconsequenttransformationoftheprimitivematerialwhich
standsasrawmaterialforaproductofart,inrelationtowhatisactuallypressed
out.Ittakesthewinepressaswellasgrapestoaxpressjuice,andittakes
environingandresistingobjectsaswellasinternalemotionandimpulsionto
constitutean
expression
ofemotion.

Speakingoftheproductionofpoetry,SamuelAlexanderremarkedthatthe
artistsworkproceedsnotfromafinishedimaginativeexperiencetowhichthe
workofartcorresponds,butfrompassionateexcitementaboutthesubject
matter....Thepoetsbythesubjectwhichexciteshim.Thepassageisatext
uponwhichwemayhangfourcomments,Oneofthesepassagesmaypassfor
thepresentasareinforcementofapointmadeinpreviouschapters.Thereal
workofartisthebuildingupofanintegralexperienceoutoftheinteractionof
organicandenvironmentalconditionsandenergies.Nearertoourpresenttheme
isthesecondpoint:Thethingexpressediswrungfromtheproducerbythe
pressureexercisedbyobjective

THEACTOFEXPRESSION

65

thingsuponthenaturalimpulsesandtendenciessofarisexpressionfrom
beingthedirectandimmaculateissueofthelatter.Thethirdpointfollows.The
actofexpressionthatconstitutesaworkofartisaconstructionintime,notan
instantaneousemission.Andthisstatementsignifiesagreatdealmorethanthat
ittakestimeforthepaintertotransferhisimaginativeconceptiontocanvassand
forthesculptortocompletehischippingofmarble.Itmeansthattheexpression
oftheselfinandthroughamedium,constitutingtheworkofart,is
itself
a
prolongedinteractionofsomethingissuingfromtheselfwithobjectiveconditions,
aprocessinwhichbothofthemacquireaformandordertheydidnotatfirst
possess.EventheAlmightytooksevendaystocreatetheheavenandtheearth,
and,iftherecordwerecomplete,weshouldalsolearnthatitwasonlyattheend
ofthatperiodthathewasawareofjustwhatHesetouttodowiththeraw
materialofchaosthatconfrontedHim.Onlyanemasculatedsubjective
metaphysicshastransformedtheeloquentmythofGenesisintotheconception
ofaCreatorcreatingwithoutanyunformedmattertoworkupon.
Thefinalcommentisthatwhenexcitementaboutsubjectmattergoesdeep,it
stirsupastoreofattitudesandmeaningsderivedfrompriorexperience.Asthey
arearousedintoactivitytheybecomeconsciousthoughtsandemotions,
emotionalizedimages.Tobesetonfirebyathoughtorsceneistobeinspired.
Whatiskindledmusteitherburnitselfout,turningtoashes,ormustpressitself
outinmaterialthatchangesthelatterfromcrudemetalintoarefinedproduct.
Manyapersonisunhappy,torturedwithin,becausehehasatcommandnoartof
expressiveaction.Whatunderhappierconditionsmightbeusedtoconvert

objectivematerialintomaterialofanintenseandclearexperience,seetheswithin
inunrulyturmoilwhichfinallydiesdownafter,perhaps,apainfulinnerdisruption.
Materialsundergoingcombustionbecauseofintimatecontactsandmutually
exercisedresistancesconstituteinspiration.Onthesideoftheself,elementsthat
issuefrompriorexperiencearestirredintoactioninfreshdesires,impulsionsand
images.Theseproceedfromthesubconscious,notcoldorinshapesthatare
identifiedwithparticularsofthepast,notinchunksandlumps,butfusedinthe
fireofinternalcommotion.Theydonotseem

66ARTASEXPERIENCE

tocomefromtheself,becausetheyissuefromaselfnotconsciouslyknown.
Hence,byajustmyth,theinspirationisattributedtoagod,ortothemuse.The
inspiration,however,isinitial.Initself,attheoutset,itisstillinchoate.Inflamed
innermaterialmustfindobjectivefueluponwhichtofeed.Throughthe
interactionofthefuelwithmaterialalreadyafiretherefinedandformedproduct
comesintoexistence.Theactofexpressionisnotsomethingwhichsupervenes
uponaninspirationalreadycomplete.Itisthecarryingforwardtocompletionof
aninspirationbymeansoftheobjectivematerialofperceptionandimagery.*
Animpulsioncannotleadtoexpressionsavewhenitisthrowninto
commotion,turmoil.Unlessthereiscompressionnothingisexpressed.The
turmoilmarkstheplacewhereinnerimpulseandcontactwithenvironment,in
factorinidea,meetandcreateaferment.Thewardanceandtheharvestdance
ofthesavagedonotissuefromwithinexcepttherebeanimpendinghostileraid
orcropsthataretobegathered.Togeneratetheindispensableexcitementthere
mustbesomethingatstake,somethingmomentousanduncertainlikethe
outcomeofabattleortheprospectsofaharvest.Asurethingdoesnotarouse
usemotionally.Henceitisnotmereexcitementthatisexpressedbut
excitementaboutsomethinghence,also,itisthatevenmereexcitement,short
ofcompletepanic,willutilizechannelsofactionthathavebeenwornbyprior
activitiesthatdealtwithobjects.Thus,likethemovementsofanactorwhogoes
throughhispartautomatically,itsimulatesexpression.Evenanundefined
uneasinessseeksoutletinsongorpantomime,strivingtobecomearticulate.
Erroneousviewsofthenatureoftheactofexpressionalmostallhavetheir
sourceinthenotionthatanemotionis


*InhisinterestingTheTheoryofPoetry,,Mr.LascellesAbercrombiewavers
betweentwoviewsofinspiration.Oneofthemtakeswhatseemstomethe
correctinterpretation.Inthepoem,aninspirationcompletelyandexquisitely
definesitself.Atothertimes,hesaystheinspiration
is
thepoemsomething
selfcontainedandselfsufficient,acompleteandentirewhole.Hesaysthat
eachinspirationissomethingwhichdidnotandcouldnotoriginallyexistas
words.Doubtlesssuchisthecasenotevenatrigonometricfunctionexists
merelyaswords.Butifitisalreadyselfsufficientandselfcontained,whydoesit
seekandfindwordsasamediumofexpression?

THEACTOFEXPRESSION

67

completeinitselfwithin,onlywhenutteredhavingimpactuponexternal
material.But,infact,anemotionis
to
or
from
or
about
somethingobjective,
whetherinfactorinidea.Anemotionisimplicatedinasituation,theissueof
whichisinsuspenseandinwhichtheselfthatismovedintheemotionisvitally
concerned.Situationsaredepressing,threatening,intolerable,triumphant.Joyin
thevictorywonbyagroupwithwhichapersonisidentifiedisnotsomething
internallycomplete,norissorrowuponthedeathofafriendanythingthatcanbe
understoodsaveasaninterpenetrationofselfwithobjectiveconditions.
Thislatterfactisespeciallyimportantinconnectionwiththeindividualization
ofworksofart.Thenotionthatexpressionisadirectemissionofanemotion
completeinitselfentailslogicallythatindividualizationisspeciousandexternal.
For,accordingtoit,fearisfear,elationiselation,loveislove,eachbeing
generic,andinternallydifferentiatedonlybydifferencesofintensity.Werethis
ideacorrect,worksofartwouldnecessarilyfallwithincertaintypes.Thisview
hasinfectedcriticismbutnotsoastoassistunderstandingofconcreteworksof
art.Savenominally,thereisnosuchthingas
the
emotionoffear,hate,love.The
unique,unduplicatedcharacterofexperiencedeventsandsituationsimpregnates
theemotionthatisevoked.Wereitthefunctionofspeechtoreproducethatto
whichitrefers,wecouldneverspeakoffear,butonlyof
fearofthisparticularoncomingautomobile,withallitsspecificationsoftimeand
place,orfearunderspecifiedcircumstancesofdrawingawrongconclusion
fromjustsuchandsuchdata.Alifetimewouldbetooshorttoreproducein
wordsasingleemotion.Inreality,however,poetandnovelisthaveanimmense
advantageoverevenanexpertpsychologistindealingwithanemotion.Forthe

formerbuildupaconcretesituationandpermit
it
toevokeemotionalresponse.
Insteadofadescriptionofanemotioninintellectualandsymbolicterms,the
artistdoesthedeedthatbreedstheemotion.
Thatartisselectiveisafactuniversallyrecognized.Itissobecauseofthe
roleofemotionintheactofexpression.Anypredominantmoodautomatically
excludesallthatisuncongenialwithit.Anemotionismoreeffectivethanany
deliberatechallengingsentinelcouldbe.Itreachesouttentaclesforthatwhichis

66

ARTASEXPERIENCE

cognate,forthingswhichfeeditandcarryittocompletion.Onlywhen

emotiondiesorisbrokentodispersedfragments,canmaterialtowhichitisalien
enterconsciousness.Theselectiveoperationofmaterialssopowerfully
exercisedbyadevelopingemotioninaseriesofcontinuedactsextractsmatter
fromamultitudeofobjects,numericallyandspatiallyseparated,andcondenses
whatisabstractedinanobjectthatisanepitomeofthevaluesbelongingtothem
all.Thisfunctioncreatestheuniversalityofaworkofart.
Ifoneexaminesintothereasonwhycertainworksofartoffendus,oneis
likelytofindthatthecauseisthatthereisnopersonallyfeltemotionguidingthe
selectingandassemblingofthematerialspresented.Wederivetheimpression
thattheartist,saytheauthorofanovel,istryingtoregulatebyconsciousintent
thenatureoftheemotionaroused.Weareirritatedbyafeelingthatheis
manipulatingmaterialstosecureaneffectdecideduponinadvance.Thefacets
ofthework,thevarietysoindispensabletoit,areheldtogetherbysomeexternal
force.Themovementofthepartsandtheconclusiondisclosenological
necessity.Theauthor,notthesubjectmatter,isthearbiter.
Inreadinganovel,evenonewrittenbyanexpertcraftsman,onemaygeta
feelingearlyinthestorythatheroorheroineisdoomed,doomednotbyanything
inherentinsituationsandcharacterbutbytheintentoftheauthorwhomakesthe
characterapuppettosetforthhisowncherishedidea.Thepainfulfeelingthat
resultsisresentednotbecauseitispainfulbutbecauseitisfoisteduponusby
somethingthatwefeelcomesfromoutsidethemovementofthesubjectmatter.
Aworkmaybemuchmoretragicandyetleaveuswithanemotionoffulfillment
insteadofirritation.Wearereconciledtotheconclusionbecausewefeelitis

inherentinthemovementofthesubjectmatterportrayed.Theincidentistragic
buttheworldinwhichsuchfatefulthingshappenisnotanarbitraryandimposed
world.Theemotionoftheauthorandthatarousedinusareoccasionedby
scenesinthatworldandtheyblendwithsubjectmatter.Itisforsimilarreasons
thatwearerepelledbytheintrusionofamoraldesigninliteraturewhilewe
estheticallyacceptanyamountofmoralcontentifitisheldtogetherbyasincere
emotionthatcontrolsthematerial.Awhiteflameofpityorindignationmayfind
mate

THEACTOFEXPRESSION

69

rialthatfeedsitanditmayfuseeverythingassembledintoavitalwhole.
Justbecauseemotionisessentialtothatactofexpressionwhichproducesa
workofart,itiseasyforinaccurateanalysistomisconceiveitsmodeofoperation
andconcludethattheworkofarthasemotionforitssignificantcontent.Onemay
cryoutwithjoyorevenweepuponseeingafriendfromwhomonehasbeenlong
separated.Theoutcomeisnotanexpressiveobjectsavetotheonlooker.Butif
theemotionleadsonetogathermaterialthatisaffiliatedtothemoodwhichis
aroused,apoemmayresult.Inthedirectoutburst,anobjectivesituationisthe
stimulus,thecause,oftheemotion.Inthepoem,objectivematerialbecomesthe
contentandmatteroftheemotion,notjustitsevocativeoccasion.
Inthedevelopmentofanexpressiveact,theemotionoperateslikeamagnet
drawingtoitselfappropriatematerial:appropriatebecauseithasanexperienced
emotionalaffinityforthestateofmindalreadymoving.Selectionand
organizationofmaterialareatonceafunctionandatestofthequalityofthe
emotionexperienced.Inseeingadrama,beholdingapicture,orreadinganovel,
wemayfeelthatthepartsdonothangtogether.Eitherthemakerhadno
experiencethatwasemotionallytoned,or,althoughhavingattheoutsetafelt
emotion,itwasnotsustained,andasuccessionofunrelatedemotionsdictated
thework.Inthelattercase,attentionwaveredandshifted,andanassemblageof
incongruouspartsensued.Thesensitiveobserverorreaderisawareofjunctions
andseams,ofholesarbitrarilyfilledin.Yes,emotionmustoperate.Butitworks
toeffectcontinuityofmovement,singlenessofeffectamidvariety.Itisselective
ofmaterialanddirectiveofitsorderandarrangement.Butitisnot
what
is

expressed.Withoutemotion,theremaybecraftsmanship,butnotartitmaybe
presentandbeintense,butifitisdirectlymanifestedtheresultisalsonotart.
Thereareotherworksthatareoverloadedwithemotion.Onthetheorythat
manifestationofanemotionisitsexpression,therecouldbenooverloadingthe
moreintensetheemotion,themoreeffectivetheexpression.Infact,aperson
overwhelmedbyanemotionistherebyincapacitatedforexpressingit.Thereisat
leastthatelementoftruthinWordsworthsformula

70ARTASEXPERIENCE

ofemotionrecollectedintranquillity.Thereis,whenoneismasteredbyan
emotion,toomuchundergoing(inthelanguagebywhichhavinganexperience
hasbeendescribedandtoolittleactiveresponsetopermitabalanced
relationshiptobestruck.Thereistoomuchnaturetoallowofthedevelopment
ofart.ManyofthepaintingsofVanGogh,forexample,haveanintensitythat
arousesanansweringchord.Butwiththeintensity,thereisanexplosiveness
duetoabsenceofassertionofcontrol.Inextremecasesofemotion,itworksto
disorderinsteadoforderingmaterial.Insufficientemotionshowsitselfinacoldly
correctproduct.Excessiveemotionobstructsthenecessaryelaborationand
definitionofparts.
Thedeterminationofthe
motjuste,
oftherightincidentintherightplace,of
exquisitenessofproportion,oftheprecisetone,hue,andshadethathelpsunify
thewholewhileitdefinesapart,isaccomplishedbyemotion.Noteveryemotion,
however,candothiswork,butonlyoneinformedbymaterialthatisgraspedand
gathered.Emotionisinformedandcarriedforwardwhenitisspentindirectlyin
searchformaterialandingivingitorder,notwhenitisdirectlyexpended.

WORKSofartoftenpresenttousanairofspontaneity,alyricquality,asif
theyweretheunpremeditatedsongofabird.Butman,whetherfortunatelyor
unfortunately,isnotabird.Hismostspontaneousoutbursts,ifexpressive,are
notoverflowsofmomentaryinternalpressures.Thespontaneousinartis
completeabsorptioninsubjectmatterthatisfresh,thefreshnessofwhichholds
andsustainsemotion.Stalenessofmatterandobtrusionofcalculationarethe

twoenemiesofspontaneityofexpression.Reflection,evenlongandarduous
reflection,mayhavebeenconcernedinthegenerationofmaterial.Butan
expressionwill,nevertheless,manifestspontaneityifthatmatterhasbeenvitally
takenupintoapresentexperience.Theinevitableselfmovementofapoemor
dramaiscompatiblewithanyamountofpriorlaborprovidedtheresultsofthat
laboremergeincompletefusionwithanemotionthatisfresh.Keatsspeaks
poeticallyofthewayinwhichartisticexpressionisreachedwhenhetellsofthe
innumerablecompositionsanddecompositionswhichtake

THEACTOFEXPRESSION

71

placebetweentheintellectanditsthousandmaterialsbeforeitarrivesatthat
trembling,delicateandsnailhornperceptionofbeauty.
Eachofusassimilatesintohimselfsomethingofthevaluesandmeanings
containedinpastexperiences.Butwedosoindifferingdegreesandatdiffering
levelsofselfhood.Somethingssinkdeep,othersstayonthesurfaceandare
easilydisplaced.TheoldpoetstraditionallyinvokedthemuseofMemoryas
somethingwhollyoutsidethemselves.outsidetheirpresentconsciousselves.
Theinvocationisatributetothepowerofwhatismostdeeplyingandtherefore
thefurthestbelowconsciousness,indeterminationofthepresentselfandof
whatithastosay.Itisnottruethatweforgetordropintounconsciousnessonly
alienanddisagreeablethings.Itisevenmoretruethatthethingswhichwehave
mostcompletelymadeapartofourselves,thatwehaveassimilatedtocompose
ourpersonalityandnotmerelyretainedasincidents,ceasetohaveaseparate
consciousexistence.Someoccasion,beitwhatitmay,stirsthepersonalitythat
hasbeenthusformed.Thencomestheneedforexpression.Whatisexpressed
willbeneitherthepasteventsthathaveexercisedtheirshapinginfluencenoryet
theliteralexistingoccasion.Itwillbe,inthedegreeofitsspontaneity,anintimate
unionofthefeaturesofpresentexistencewiththevaluesthatpastexperience
haveincorporatedinpersonality.Immediacyandindividuality,thetraitsthatmark
concreteexistence,comefromthepresentoccasionmeaning,substance,
content,fromwhatisembeddedintheselffromthepast.
Idonotthinkthatthedancingandsingingofevenlittlechildrencanbe
explainedwhollyonthebasisofunlearnedandunformedresponsestothen
existingobjectiveoccasions.Clearlytheremustbesomethinginthepresentto

evokehappiness.Buttheactisexpressiveonlyasthereisinitaunisonof
somethingstoredfrompastexperience,somethingthereforegeneralized,with
presentconditions.Inthecaseoftheexpressionsofhappychildrenthemarriage
ofpastvaluesandpresentincidentstakesplaceeasily:therearefew
obstructionstobeovercome,fewwoundstoheal,fewconflictstoresolve.With
maturerpersons,thereverseisthecase.Accordinglytheachievementof
completeunisonisrarebutwhenitoccursitissoonadeeperleveland

72

ARTASEXPERIENCE

withafullercontentofmeaning.Andthen,eventhoughafterlongincubation

andafterprecedentpangsoflabor,thefinalexpressionmayissuewiththe
spontaneityofthecadencedspeechorrhythmicmovementofhappychildhood.
InoneofhisletterstohisbrotherVanGoghsaysthatemotionsare
sometimessostrongthatoneworkswithoutknowingthatoneworks,andthe
strokescomewithasequenceandcoherencelikethatofwordsinaspeechor
letter.Suchfullnessofemotionandspontaneityofutterancecome,however,
onlytothosewhohavesteepedthemselvesinexperiencesofobjective
situationstothosewhohavelongbeenabsorbedinobservationofrelated
materialandwhoseimaginationshavelongbeenoccupiedwithreconstructing
whattheyseeandhear.Otherwisethestateismorelikeoneoffrenzyinwhich
thesenseoforderlyproductionissubjectiveandhallucinatory.Eventhe
volcanosoutburstpresupposesalongperiodofpriorcompression,and,ifthe
eruptionsendsforthmoltenlavaandnotmerelyseparaterocksandashes,it
impliesatransformationoforiginalrawmaterials.Spontaneityistheresultof
longperiodsofactivity,orelseitissoemptyasnottobeanactofexpression.
WhatWilliamJameswroteaboutreligiousexperiencemightwellhavebeen
writtenabouttheantecedentsofactsofexpression.Amansconsciouswitand
willareaimingatsomethingonlydimlyandinaccuratelyimagined.Yetallthe
whiletheforcesofmereorganicripeningwithinhimaregoingontotheirown
prefiguredresult,andhisconsciousstrainingsarelettingloosesubconscious
alliesbehindthesceneswhichintheirwayworktowardrearrangement,andthe
rearrangementtowardwhichallthesedeeperforcestendisprettysurelydefinite,
anddefinitelydifferentfromwhatheconsciouslyconceivesanddetermines.It

mayconsequentlybeactuallyinterferedwith(jammedasitwere)byhisvoluntary
effortsslantingtowardthetruedirection.Hence,asheadds,Whenthenew
centerofenergyhasbeensubconsciouslyincubatedsolongastobejustready
toburstintoflower,handsoffistheonlywordforusitmustburstforth
unaided.
Itwouldbedifficulttofindorgiveabetterdescriptionofthenatureof
spontaneousexpression.Pressureprecedesthegushingforthofjuicefromthe
winepress.Newideascomeleisurelyyetpromptlytoconsciousnessonlywhen
workhaspre

THEACTOFEXPRESSION

73

viouslybeendoneinformingtherightdoorsbywhichtheymaygain
entrance.Subconsciousmaturationprecedescreativeproductionineverylineof
humanendeavor.Thedirecteffortofwitandwillofitselfnevergavebirthto
anythingthatisnotmechanicaltheirfunctionisnecessary,butitistoletloose
alliesthatexistoutsidetheirscope.Atdifferenttimeswebroodoverdifferent
thingsweentertainpurposesthat,asfarasconsciousnessisconcerned,are
independent,beingeachappropriatetoitsownoccasionweperformdifferent
acts,eachwithitsownparticularresult.Yetastheyallproceedfromoneliving
creaturetheyaresomehowboundtogetherbelowthelevelofintention.They
worktogether,andfinallysomethingisbornalmostinspiteofconscious
personality,andcertainlynotbecauseofitsdeliberatewill.Whenpatiencehas
doneitsperfectwork,themanistakenpossessionofbytheappropriatemuse
andspeaksandsingsassomegoddictates.
Personswhoareconventionallysetofffromartists,thinkers,scientists,do
notoperatebyconsciouswitandwilltoanythingliketheextentpopularly
supposed.They,too,pressforwardtowardsomeenddimlyandimprecisely
prefigured,gropingtheirwayastheyareluredonbytheidentityofanaurain
whichtheirobservationsandreflectionsswim.Onlythepsychologythathas
separatedthingswhichinrealitybelongtogetherholdsthatscientistsand
philosophersthinkwhilepoetsandpaintersfollowtheirfeelings.Inboth,andto
thesameextentinthedegreeinwhichtheyareofcomparablerank,thereis
emotionalizedthinking,andtherearefeelingswhosesubstanceconsistsof
appreciatedmeaningsorideas.AsIhavealreadysaid,theonlysignificant
distinctionconcernsthekindofmaterialtowhichemotionalizedimagination

adheres.Thosewhoarecalledartistshavefortheirsubjectmatterthequalities
ofthingsofdirectexperienceintellectualinquirersdealwiththesequalitiesat
oneremove,throughthemediumofsymbolsthatstandforqualitiesbutarenot
significantintheirimmediatepresence.Theultimatedifferenceisenormousas
farasthetechniqueofthoughtandemotionareconcerned.Butthereisno
differenceasfarasdependenceonemotionalizedideasandsubconscious
maturingareconcerned.Thinkingdirectlyintermsofcolors,tones,images,isa
differentoperationtechnicallyfromthinking

74

ARTASEXPERIENCE

inwords.Butonlysuperstitionwillholdthat,becausethemeaningof

paintingsandsymphoniescannotbetranslatedintowords,orthatofpoetryinto
prose,thereforethoughtismonopolizedbythelatter.Ifallmeaningscouldbe
adequatelyexpressedbywords,theartsofpaintingandmusicwouldnotexist.
Therearevaluesandmeaningsthatcanbeexpressedonlybyimmediately
visibleandaudiblequalities,andtoaskwhattheymeaninthesenseof
somethingthatcanbeputintowordsistodenytheirdistinctiveexistence.
Differentpersonsdifferintherelativeamountofparticipationofconsciouswit
andwillwhichgointotheiractsofexpression.EdgarAllanPoeleftanaccountof
theprocessofexpressionasitisengagedinbythoseofthemoredeliberatecast
ofmind.HeistellingaboutwhatwentonwhenhewroteTheRaven,andsays:
Thepublicisrarelypermittedtotakeapeepbehindthescenesatthevacillating
crudities,ofthetruepurposeseizedatthelastmoment,atthewheelsand
pinions,thetackleforsceneshifting,thestepladdersanddemontraps,thered
paintandblackpatches,which,inninetyninecasesoutofahundred,constitute
thepropertiesoftheliterary
histrio.
ItisnotnecessarytotakethenumericalrationstatedbyPoetooseriously.
Butthesubstanceofwhathesaysisapicturesquepresentationofasoberfact.
Theprimitiveandrawmaterialofexperienceneedstobereworkedinorderto
secureartisticexpression.Oftentimes,thisneedisgreaterincasesof
inspirationthaninothercases.Inthisprocesstheemotioncalledoutbythe
originalmaterialismodifiedasitcomestobeattachedtothenewmaterial.This
factgivesusthecluetothenatureofestheticemotion.

Withrespecttothephysicalmaterialsthatenterintotheformationofawork
ofart,everyoneknowsthattheymustundergochange.Marblemustbechipped
pigmentsmustbelaidoncanvaswordsmustbeputtogether.Itisnotso
generallyrecognizedthatasimilartransformationtakesplaceonthesideof
innermaterials,images,observations,memoriesandemotions.Theyarealso
progressivelyreformedthey,too,mustbeadministered.Thismodificationisthe
buildingupofatrulyexpressiveact.Theimpulsionthatseethesasacommotion
demandingutterancemustundergoasmuchandascarefulmanagementin
ordertoreceive

THEACTOFEXPRESSION

75

eloquentmanifestationasmarbleorpigment,ascolorsandsounds.Norare
thereinfacttwooperations,oneperformedupontheoutermaterialandtheother
upontheinnerandmentalstuff.
Theworkisartisticinthedegreeinwhichthetwofunctionsoftransformation
areeffectedbyasingleoperation.Asthepainterplacespigmentuponthe
canvas,orimaginesitplacedthere,hisideasandfeelingarealsoordered.As
thewritercomposesinhismediumofwordswhathewantstosay,hisideatakes
onforhimselfperceptibleform.
Thesculptorconceiveshisstatue,notjustinmentaltermsbutinthoseof
clay,marbleorbronze.Whetheramusician,painter,orarchitectworksouthis
originalemotionalideaintermsofauditoryorvisualimageryorintheactual
mediumasheworksisofrelativelyminorimportance.Fortheimageryisofthe
objectivemediumundergoingdevelopment.Thephysicalmediamaybeordered
inimaginationorinconcretematerial.Inanycase,thephysicalprocessdevelops
imagination,whileimaginationisconceivedintermsofconcretematerial.Onlyby
progressiveorganizationofinnerandoutermaterialinorganicconnectionwith
eachothercananythingbeproducedthatisnotalearneddocumentoran
illustrationofsomethingfamiliar.
Suddennessofemergencebelongstoappearanceofmaterialabovethe
thresholdofconsciousness,nottotheprocessofitsgeneration.Couldwetrace
anysuchmanifestationtoitsrootsandfollowitthroughitshistory,weshouldfind
atthebeginninganemotioncomparativelygrossandundefined.Weshouldfind
thatitassumeddefiniteshapeonlyasitworkeditselfthroughaseriesofchanges
inimaginedmaterial.Whatmostofuslackinordertobeartistsisnotthe

inceptiveemotion,noryetmerelytechnicalskillinexecution.Itiscapacityto
workavagueideaandemotionoverintotermsofsomedefinitemedium.Were
expressionbutakindofdecalcomania,oraconjuringofarabbitoutoftheplace
whereitlieshid,artisticexpressionwouldbeacomparativelysimplematter.But
betweenconceptionandbring.ingtobirththereliesalongperiodofgestation.
Duringthisperiodtheinnermaterialofemotionandideaisasmuchtransformed
throughactingandbeingacteduponbyobjectivematerialasthelatter
undergoesmodificationwhenitbecomesamediumofexpression.

76

ARTASEXPERIENCE

Itispreciselythistransformationthatchangesthecharacteroftheoriginal

emotion,alteringitsqualitysothatitbecomesdistinctivelyestheticinnature.In
formaldefinition,emotionisestheticwhenitadherestoanobjectformedbyan
expressiveact,inthesenseinwhichtheactofexpressionhasbeendefined.
Initsbeginninganemotionfliesstraighttoitsobject.Lovetendstocherish
thelovedobjectashatetendstodestroythethinghated.Eitheremotionmaybe
turnedasidefromitsdirectend.Theemotionoflovemayseekandfindmaterial
thatisotherthanthedirectlylovedone,butthatiscongenialandcognate
throughtheemotionthatdrawsthingsintoaffinity.Thisothermaterialmaybe
anythingaslongasitfeedstheemotion.Consultthepoets,andwefindthatlove
findsitsexpressioninrushingtorrents,stillpools,inthesuspensethatawaitsa
storm,abirdpoisedinflight,aremotestarortheficklemoon.Noristhismaterial
metaphoricalincharacter,ifbymetaphorisunderstoodtheresultofanyactof
consciouscomparison.Deliberatemetaphorinpoetryistherecourseofmind
whenemotiondoesnotsaturatematerial.Verbalexpressionmaytaketheform
ofmetaphor,butbehindthewordsliesanactofemotionalidentification,notan
intellectualcomparison.
Inallsuchcases,someobjectemotionallyakintothedirectobjectofemotion
takestheplaceofthelatter.Itactsinplaceofadirectcaress,ofhesitating
approach,oftryingtocarrybystorm.ThereistruthinHulmesstatementthat
beautyisthemarkingtime,thestationaryvibration,thefeignedecstasy,ofan
arrestedimpulseunabletoreachitsnaturalend.*Ifthereisanythingwrongwith
thestatement,itistheveiledintimationthattheimpulsion
ought
tohavereached
itsnaturalend.Iftheemotionoflovebetweenthesexeshadnotbeen

celebratedbymeansofdiversionintomaterialemotionallycognatebutpractically
irrelevanttoitsdirectobjectandend,thereiseveryreasontosupposeitwould
stillremainontheanimalplane.Theimpulsearrestedinitsdirectmovement
towarditsphysiologicallynormalendisnot,inthecaseofpoetry,arrestedinan
absolutesense.Itisturnedintoindirectchannelswhereitfindsothermaterial
thanthatwhichisnaturallyappropriatetoit,andasitfuses
*
Speculations,
p.266.

THEACTOFEXPRESSION

77

withthismaterialittakesonnewcolorandhasnewconsequences.Thisis
whathappenswhenanynaturalimpulseisidealizedorspiritualized.Thatwhich
elevatestheembraceofloversabovetheanimalplaneisjustthefactthatwhen
itoccursithastakenintoitself,asitsownmeaning,theconsequencesofthese
indirectexcursionsthatareimaginationinaction.
Expressionistheclarificationofturbidemotionourappetitesknow
themselveswhentheyarereflectedinthemirrorofart,andastheyknow
themselvestheyaretransfigured.Emotionthatisdistinctivelyestheticthen
occurs.Itisnotaformofsentimentthatexistsindependentlyfromtheoutset.Itis
anemotioninducedbymaterialthatisexpressive,andbecauseitisevokedby
andattachedtothismaterialitconsistsofnaturalemotionsthathavebeen
transformed.Naturalobjects,landscapes,forexample,induceit.Buttheydoso
onlybecausewhentheyarematterofanexperiencethey,too,haveundergonea
changesimilartothatwhichthepainterorpoeteffectsinconvertingthe
immediatesceneintothematterofanactthatexpressesthevalueofwhatis
seen.
Anirritatedpersonismovedtodosomething.Hecannotsuppresshis
irritationbyanydirectactofwillatmosthecanonlydriveitbythisattemptintoa
subterraneanchannelwhereitwrnworkthemoreinsidiouslyanddestructively.
Hemustacttogetridofit.Buthecanactindifferentways,onedirect,theother
indirect,inmanifestationsofhisstate.Hecannotsuppressitanymorethanhe
candestroytheactionofelectricitybyafiatofwin.Buthecanharnessoneorthe
othertotheaccomplishmentofnewendsthatwilldoawaywiththedestructive
forceofthenaturalagency.Theirritablepersondoesnothavetotakeitouton

neighborsormembersofhisfamilytogetrelief.Hemayrememberthatacertain
amountofregulatedphysicalactivityisgoodmedicine.Hesetstoworktidying
hisroom,straighteningpicturesthatareaskew,sortingpapers,clearingout
drawers,puttingthingsinordergenerally.He
uses
hisemotion,switchingitinto
indirectchannelspreparedbyprioroccupationsandinterests.Butsincethereis
somethingintheutilizationofthesechannelsthatisemotionallyakintothe
meansbywhichhisirritationwouldfinddirectdischarge,asheputsobjectsin
orderhisemotionisordered.

79

ARTASEXPERIENCE

Thistransformationisoftheveryessenceofthechangethattakesplacein

anyandeverynaturalororiginalemotionalimpulsionwhenittakestheindirect
roadofexpressioninsteadofthedirectroadofdischarge.Irritationmaybeletgo
likeanarrowdirectedatatargetandproducesomechangeintheouterworld.
Buthavinganoutereffectissomethingverydifferentfromordereduseof
objectiveconditionsinordertogiveobjectivefulfillmenttotheemotion.Thelatter
aloneisexpressionandtheemotionthatattachesitselfto,orisinterpenetrated
by,theresultingobjectisesthetic.Ifthepersoninquestionputshisroomto
rightsasamatterofroutineheisanesthetic.Butifhisoriginalemotionof
impatientirritationhasbeenorderedandtranquilizedbywhathehasdone,the
orderlyroomreflectsbacktohimthechangethathastakenplaceinhimself.He
feelsnotthathehasaccomplishedaneededchorebuthasdonesomething
emotionallyfulfilling.Hisemotionasthusobjectifiedisesthetic.

ESTHETICemotionisthussomethingdistinctiveandyetnotcutoffbya
chasmfromotherandnaturalemotionalexperiences,assometheoristsin
contendingforitsexistencehavemadeittobe.Onefamiliarwithrecentliterature
onestheticswillbeawareofatendencytogotooneextremeortheother.On
onehand,itisassumedthatthereisinexistence,atleastinsomegifted
persons,anemotionthatisaboriginallyesthetic,andthatartisticproductionand
appreciationarethemanifestationsofthisemotion.Suchaconceptionisthe
inevitablelogicalcounterpartofallattitudesthatmakeartsomethingesotericand
thatrelegatefinearttoarealmseparatedbyagulffromeverydayexperiences.

Ontheotherhand,areactionwholesomeinintentagainstthisviewgoestothe
extremeofholdingthatthereisnosuchthingasdistinctivelyestheticemotion.
Theemotionofaffectionthatoperatesnotthroughanovertactofcaressbutby
searchingouttheobservationorimageofasoaringbird,theemotionofirritating
energythatdoesnotdestroyorinjurebutthatputsobjectsinsatisfyingorder,is
notnumericallyidenticalwithitsoriginalandnaturalestate.Yetitstandsin
geneticcontinuitywithit.TheemotionthatwasfinallywroughtoutbyTennyson
inthecompositionofInMemoriamwasnotidenticalwiththeemotionof

THEACTOFEXPRESSION

79

griefthatmanifestsitselfinweepingandadowncastframe:thefirstisanact
ofexpression,thesecondofdischarge.Yetthecontinuityofthetwoemotions,
thefactthattheestheticemotionisnativeemotiontransformedthroughthe
objectivematerialtowhichithascommitteditsdevelopmentandconsummation,
isevident.
SamuelJohnsonwiththePhilistinessturdypreferenceforreproductionofthe
familiar,criticizedMiltonsLycidasinthefollowingway:Itisnottobe
consideredastheeffusionofrealpassion,forpassionrunsnotafterremote
allusionsandobscureopinions.Passionplucksnotberriesfromthemyrtleand
ivy,norcallsuponArethusaandMincius,nortellsofroughsatyrsandfaunswith
clovenheel.Wherethereisleisureforfictionthereislittlegrief.Ofcoursethe
underlyingprincipleofJohnsonscriticismwouldpreventtheappearanceofany
workofart.Itwould,instrictlogic,confinetheexpressionofgrieftoweeping
andtearingthehair.Thus,whiletheparticularsubjectmatterofMiltonspoem
wouldnotbeusedtodayinanelegy,it,andanyotherworkofart,isboundto
dealwiththeremoteinoneofitsaspectsnamely,thatremotefromimmediate
effusionofemotionandfrommaterialthatiswornout.Griefthathasmatured
beyondtheneedofweepingandwailingforreliefwillresorttosomethingofthe
sortthatJohnsoncallsfictionthatis,imaginativematerial,althoughitbe
differentmatterfromliterature,classicandancientmyth.Inallprimitivepeoples
wailingsoonassumesaceremonialformthatisremotefromitsnative
manifestation.

Inotherwords,artisnotnature,butisnaturetransformedbyenteringinto
newrelationshipswhereitevokesanewemotionalresponse.Manyactors
remainoutsidetheparticularemotiontheyportray.Thisfactisknownas
Diderotsparadoxsincehefirstdevelopedthetheme.Infact,itisparadoxonly
fromthestandpointimpliedinthequotationfromSamuelJohnson.Morerecent
inquirieshaveshown,indeed,thattherearetwotypesofactors.Therearethose
whoreportthattheyareattheirbestwhentheylosethemselvesemotionallyin
theirr6les.Yetthisfactisnoexceptiontotheprinciplethathasbeenstated.For,
afterall,itisar6le,apartwithwhichactorsidentifythemselves.Asapart,itis
conceivedandtreatedaspartofa

80

ARTASEXPERIENCE

wholeifthereisartinacting,theroleissubordinatedsoastooccupythe

positionofapartinthewhole.Itistherebyqualifiedbyestheticform.Eventhose
whofeelmostpoignantlytheemotionsofthecharacterrepresenteddonotlose
consciousnessthattheyareonastagewherethereareotheractorstakingpart
thattheyarebeforeanaudience,andthattheymust,therefore,cooperatewith
otherplayersincreatingacertaineffect.Thesefactsdemandandsignifya
definitetransformationoftheprimitiveemotion.Portrayalofintoxicationisa
commondeviceofthecomicstage.Butamanactuallydrunkenwouldhaveto
usearttoconcealhisconditionifheisnottodisgusthisaudience,oratleastto
excitealaughterthatdiffersradicallyfromthatexcitedbyintoxicationwhen
acted.Thedifferencebetweenthetwotypesofactorsisnotadifferencebetween
expressionofanemotioncontrolledbytherelationsofthesituationintowhichit
entersandamanifestationofrawemotion.Itisadifferenceinmethodsof
bringingaboutthedesiredeffect,adifferencedoubtlessconnectedwithpersonal
temperament.
Finally,whathasbeensaidlocates,evenifitdoesnotsolve,thevexed
problemoftherelationofestheticorfinearttoothermodesofproductionalso
calledart.Thedifferencethatexistsinfactcannotbeleveled,aswehave
alreadyseen,bydefiningbothintermsoftechniqueandskill.Butneithercanit
beerectedintoabarrierthatisinsuperablebyreferringthecreationoffineartto
animpulsethatisunique,separatedfromimpulsionswhichworkinmodesof
expressionnotusually,broughtunderthecaptionoffineart.Conductcanbe
sublimeandmannersgracious.Ifimpulsiontowardorganizationofmaterialsoas
topresentthelatterinaformdirectlyfulfillinginexperiencehadnoexistence

outsidetheartsofpainting,poetry,music,andsculpture,itwouldnotexist
anywheretherewouldbenofineart.
Theproblemofconferringestheticqualityuponallmodesofproductionisa
seriousproblem.Butitisahumanproblemforhumansolutionnotaproblem
incapableofsolutionbecauseitissetbysomeunpassablegulfinhumannature
orinthenatureofthings.Inanimperfectsocietyandnosocietywilleverbe
perfectfineartwillbetosomeextentanescapefrom,oranadventitious
decorationof,themainactivitiesofliving.Butin
THEACTOFEXPRESSION

SI

abetterorderedsocietythanthatinwhichwelive,aninfinitelygreater
happinessthanisnowthecasewouldattendallmodesofproduction.Welivein
aworldinwhichthereisanimmenseamountoforganization,butitisanexternal
organization,notoneoftheorderingofagrowingexperience,onethatinvolves,
moreover,thewholeofthelivecreature,towardafulfillingconclusion.Worksof
artthatarepotremotefromcommonlife,thatarewidelyenjoyedinacommunity,
aresignsofaunifiedcollectivelife.Buttheyarealsomarvelousaidsinthe
creationofsuchalife.Theremakingofthematerialofexperienceintheactof
expressionisnotanisolatedeventconfinedtotheartistandtoapersonhere
andtherewhohappenstoenjoythework.Inthedegreeinwhichartexercisesits
office,itisalsoaremakingoftheexperienceofthecommunityinthedirectionof
greaterorderandunity.

CHAPTERV

THEEXPRESSIVEOBJECT

Expression,likeconstruction,signifiesbathanactionanditsresult.Thelast
chapterconsidereditasanact.Wearenowconcernedwiththeproduct,the
objectthatisexpressive,thatsayssomethingtous.Ifthetwomeaningsare
separated,theobjectisviewedinisolationfromtheoperationwhichproducedit,
andthereforeapartfromindividualityofvision,sincetheactproceedsfroman
individuallivecreature.Theorieswhichseizeuponexpression,asifitdenoted
simplytheobject,alwaysinsisttotheuttermostthattheobjectofartispurely
representativeofotherobjectsalreadyinexistence.Theyignoretheindividual
contributionwhichmakestheobjectsomethingnew.Theydwelluponits
universalcharacter,anduponitsmeaninganambiguousterm,asweshall
see.Ontheotherhand,isolationoftheactofexpressingfromthe
expressivenesspossessedbytheobjectleadstothenotionthatexpressionis
merelyaprocessofdischargingpersonalemotiontheconceptioncriticizedin
thelastchapter.
Thejuiceexpressedbythewinepressiswhatitisbecauseofaprioract,and
itissomethingnewanddistinctive.Itdoesnotmerelyrepresentotherthings.Yet
ithassomethingincommonwithotherobjectsanditismadetoappealtoother
personsthantheonewhoproducedit.Apoemandpicturepresentmaterial
passedthroughthealembicofpersonalexperience.Theyhavenoprecedentsin
existenceorinuniversalbeing.But,nonetheless,theirmaterialcamefromthe
publicworldandsohasqualitiesincommonwiththematerialofother
experiences,whiletheproductawakensinotherpersonsnewperceptionsofthe

meaningsofthecommonworld.Theoppositionsofindividualanduniversal,of
subjectiveandobjective,offreedomandorder,inwhichphilosophershave
reveled,havenoplaceintheworkofart.Expressionaspersonalactandas
objectiveresultareorganicallyconnectedwitheachother.

THEEXPRESSIVEOBJECT

83

Itisnotnecessary,therefore,togointothesemetaphysicalquestions.We
mayapproachthematterdirectly.Whatdoesitmeantosaythataworkofartis
representative,sinceitmustberepresentativeinsomesenseifitisexpressive?
Tosayingeneralthataworkofartisorisnotrepresentativeismeaningless.For
thewordhasmanymeanings.Anaffirmationofrepresentativequalitymaybe
falseinonesenseandtrueinanother.Ifliteralreproductionissignifiedby
representativethentheworkofartisnotofthatnature,forsuchaviewignores
theuniquenessoftheworkduetothepersonalmediumthroughwhichscenes
andeventshavepassed.Matissesaidthatthecamerawasagreatboonto
painters,sinceitrelievedthemfromanyapparentnecessityofcopyingobjects.
Butrepresentationmayalsomeanthattheworkofarttellssomethingtothose
whoenjoyitaboutthenatureoftheirownexperienceoftheworld:thatit
presentstheworldinanewexperiencewhichtheyundergo.
Asimilarambiguityattendsthequestionofmeaninginaworkofart.Words
aresymbolswhichrepresentobjectsandactionsinthesenseofstandingfor
theminthatsensetheyhavemeaning.Asignboardhasmeaningwhenitsays
somanymilestosuchandsuchaplace,withanarrowpointingthedirection.But
meaninginthesetwocaseshasapurelyexternalreferenceitstandsfor
somethingbypointingtoit.Meaningdoesnotbelongtothewordandsignboard
ofitsownintrinsicright.Theyhavemeaninginthesenseinwhichanalgebraic
formulaoraciphercodehasit.Butthereareothermeaningsthatpresent
themselvesdirectlyaspossessionsofobjectswhichareexperienced.Herethere
isnoneedforacodeorconventionofinterpretationthemeaningisasinherent
inimmediateexperienceasisthatofaflowergarden.Denialofmeaningtoa

workofartthushastworadicallydifferentsignifications.Itmaysignifythatawork
ofarthasnotthekindofmeaningthatbelongstosignsandsymbolsin
mathematicsacontentionthatisjust.Oritmaysignifythattheworkofartis
withoutmeaningasnonsenseiswithoutit.Theworkofartcertainlydoesnot
havethatwhichishadbyflagswhenusedtosignalanothership.Butitdoes
havethatpossessedbyflagswhentheyareusedtodecoratethedeckofaship
foradance.
Sincetherearepresumablynonewhointendtoassertthat

84

ARTASEXPERIENCE

worksofartarewithoutmeaninginthesenseofbeingsenseless,itmight

seemasiftheysimplyintendedtoexcludeexternalmeaning,meaningthat
residesoutsidetheworkofartitself.Unfortunately,however,thecaseisnotso
simple.Thedenialofmeaningtoartusuallyrestsupontheassumptionthatthe
kindofvalue(andmeaning)thataworkofartpossessesissouniquethatitis
withoutcommunityorconnectionwiththecontentsofothermodesofexperience
thantheesthetic.Itis,inshort,anotherwayofupholdingwhatIhavecalledthe
esotericideaoffineart.Theconceptionimpliedinthetreatmentofesthetic
experiencesetforthinthepreviouschaptersis,indeed,thattheworkofarthasa
unique
quality,
butthatitisthatofclarifyingandconcentratingmeanings
containedinscatteredandweakenedwaysinthematerialofotherexperiences.
Theprobleminhandmaybeapproachedbydrawingadistinctionbetween
expressionandstatement.
Sciencestatesmeaningsartexpressesthem.
Itis
possiblethatthisremarkwillitselfillustratethedifferenceIhaveinmindbetter
thanwillanyamountofexplanatorycomment.YetIventureuponsomedegree
ofamplification.Theinstanceofasignboardmayhelp.Itdirectsonescourseto
aplace,sayacity.Itdoesnotinanywaysupplyexperienceofthatcityevenina
vicariousway.Whatitdoesdoistosetforthsomeoftheconditionsthatmustbe
fulfilledinordertoprocurethatexperience.Whatholdsinthisinstancemaybe
generalized.Statementsetsforththeconditionsunderwhichanexperienceofan
objectorsituationmaybehad.Itisagood,thatis,effective,statementinthe
degreeinwhichtheseconditionsarestatedinsuchawaythattheycanbeused
as
directions
bywhichonemayarriveattheexperience.Itisabadstatement,

confusedandfalse,ifitsetsforththeseconditionsinsuchawaythatwhenthey
areusedasdirections,theymisleadortakeonetotheobjectinawastefulway.
Sciencesignifiesjustthatmodeofstatementthatismosthelpfulas
direction.Totaketheoldstandardcasewhichsciencetodayseemsbentupon
modifyingthestatementthatwaterisH
0isprimarilyastatementofthe
2
conditionsunderwhichwatercomesintoexistence.Butitisalsoforthosewho
understanditadirectionforproducingpurewaterandfortestinganythingthatis
likelytobetakenforwater.Itisabetter

THEEXPRESSIVEOBJECT

85

statementthanpopularandprescientificonesjustbecauseinstatingthe
conditionsfortheexistenceofwatercomprehensivelyandexactly,itsetsthem
forthinawaythatgivesdirectionconcerninggenerationofwater.Such,
however,isthenewnessofscientificstatementanditspresentprestige(due
ultimatelytoitsdirectiveefficacy)thatscientificstatementisoftenthoughtto
possessmorethanasignboardfunctionandtodiscloseorbeexpressiveofthe
innernatureofthings.Ifitdid,itwouldcomeintocompetitionwithart,andwe
shouldhavetotakesidesanddecidewhichofthetwopromulgatesthemore
genuinerevelation.
Thepoeticasdistinctfromtheprosaic,estheticartasdistinctfromscientific,
expressionasdistinctfromstatement,doessomethingdifferentfromleadingto
anexperience.Itconstitutesone.Atravelerwhofollowsthestatementor
directionofasignboardfindshimselfinthecitythathasbeenpointedtowards.
Hethenmay
have
inhisownexperiencesomeofthemeaningwhichthecity
possesses.Wemayhaveittosuchanextentthatthecityhasexpresseditselfto
himasTinternAbbeyexpresseditselftoWordsworthinandthroughhispoem.
Thecitymight,indeed,betryingtoexpressitselfinacelebrationattendedwith
pageantryandallotherresourcesthatwouldrenderitshistoryandspirit
perceptible.Thenthereis,ifthevisitorhashimselftheexperiencethatpermits
himtoparticipate,anexpressiveobject,asdifferentfromthestatementsofa
gazetteer,howeverfullandcorrecttheymightbe,asWordsworthspoemis
differentfromtheaccountofTinternAbbeygivenbyanantiquarian.Thepoem,
orpainting,doesnotoperateinthedimensionofcorrectdescriptivestatement
butinthatofexperienceitself.Poetryandprose,literalphotographandpainting,

operateindifferentmediatodistinctends.Proseissetforthinpropositions.The
logicofpoetryissuperpropositionalevenwhenituseswhatare,grammatically
speaking,propositions.Thelatterhaveintentartisanimmediaterealizationof
intent.
VanGoghsletterstohisbrotherarefilledwithaccountsofthingshehas
observedandmanyofwhichhepainted.Iciteoneofmanyinstances.Ihavea
viewoftheRhonetheironbridgeatTrinquetaille,inwhichskyandriverarethe
colorofabsinthe,thequaysashadeoflilac,thefiguresleaningontheparapet,
blackish,theironbridgeanintenseblue,withanoteof

86

ARTASEXPERIENCE

vividorangeinthebackground,andanoteofintensemalachite.Hereis

statementofasortcalculatedtoleadhisbrothertoalikeview.Butwho,from
thewordsaloneIamtryingtogetsomethingutterlyheartbrokencouldinfer
thetransitionthatVincenthimselfmakestotheparticular
expressiveness
he
desiredtoachieveinhispicture?Thesewordstakenbythemselvesarenotthe
expressiontheyonlyhintatit.Theexpressiveness,theestheticmeaning,isthe
pictureitself.Butthedifferencebetweenthedescriptionofthesceneandwhat
hewasstrivingformayremindusofthedifferencebetweenstatementand
expression.
Theremayhavebeensomethingaccidentalinthephysicalsceneitselfwhich
leftVanGoghwiththeimpressionofutterdesolation.Yetthemeaningisthereit
isthereassomethingbeyondtheoccasionofthepaintersprivateexperience,
somethingthathetakestobetherepotentiallyforothers.Itsincorporationisthe
picture.Wordscannotduplicatetheexpressivenessoftheobject.Butwords
can
pointoutthatthepictureis
not
representativeofjustaparticularbridgeoverthe
RhoneRiver,noryetofabrokenheart,notevenofVanGoghsownemotionof
desolationthathappenedsomehowtobefirstexcitedandthenabsorbedby(and
into)thescene.Heaimed,throughpictorialpresentationofmaterialthatanyone
onthespotmightobserve,thatthousandshadobserved,topresenta
new
objectexperiencedashavingitsownuniquemeaning.Emotionalturmoilandan
externalepisodefusedinanobjectwhichwasexpressiveofneitherofthem
separatelynoryetofamechanicaljunctionofthetwo,butofjustthemeaningof
theutterlyheartbroken.Hedidnotpourforththeemotionofdesolationthat
wasimpossible.Heselectedandorganizedanexternalsubjectmatterwitha

viewtosomethingquitedifferentanexpression.Andinthedegreeinwhichhe
succeededthepictureis,ofnecessity,expressive.
RogerFry,incommentinguponthecharacteristicfeaturesofmodern
painting,hasgeneralizedasfollows:Almostanyturnofthekaleidoscopeof
naturemaysetupintheartistadetachedandestheticvision,and,ashe
contemplatestheparticularfieldofvision,the(esthetically)chaoticand
accidentalcontemplationofformsandcoloursbeginstocrystallizeintoa
harmonyand,asthisharmonybecomescleartotheartist,hisactualvision
becomesdistortedbytheemphasisoftherhythmthatissetup

THEEXPRESSIVEOBJECT

87

withinhim.Certainrelationsoflinebecomeforhimfullofmeaninghe
apprehendsthemnolongercuriouslybutpassionately,andtheselinesbeginto
besostressedandstandoutsoclearlyfromtherestthatheseesthemmore
distinctlythanhedidatfirst.Similarly,colourswhichinnaturehavealmost
alwaysacertainvaguenessandelusiveness,becomesodefiniteandclearto
him,owingtotheirnowsonecessaryrelationtoothercolours,that,ifhechooses
topainthisvision,hecanstateitpositivelyanddefinitely.Insuchacreative
vision,theobjectsassuchtendtodisappear,tolosetheirseparateunitiesandto
taketheirplaceassomanybitsinthewholemosaicofvision.
Thepassageseemstomeanexcellentaccountofthesortofthingthattakes
placeinartisticperceptionandconstruction.Itmakescleartwothings:
Representationisnot,ifthevisionhasbeenartisticorconstructive(creative),of
objectsassuch,thatisofitemsinthenaturalsceneastheyliterallyoccuror
arerecalled.Itis
not
the
kind
ofrepresentationthatacamerawouldreportifa
detective,say,werepreservingthesceneforhisownpurpose.Moreover,the
reasonforthisfactisclearlysetforth.Certainrelationsoflinesandcolors
becomeimportant,fullofmeaning,andeverythingelseissubordinatedtothe
evocationofwhatisimpliedintheserelations,omitted,distorted,addedto,
transformed,toconveytherelationships.Onethingmaybeaddedtowhatis
said.Thepainterdidnotapproachthescenewithanemptymind,butwitha
backgroundofexperienceslongagofundedintocapacitiesandlikes,orwitha
commotionduetomorerecentexperiences.Hecomeswithamindwaiting,
patient,willingtobeimpressedandyetnotwithoutbiasandtendencyinvision.
Hencelinesandcolorcrystallizeinthisharmonyratherthaninthat.Thisespecial

modeofharmonizationisnottheexclusiveresultofthelinesandcolors.Itisa
functionofwhatisintheactualsceneinitsinteractionwithwhatthebeholder
bringswithhim.Somesubtleaffinitywiththecurrentofhisownexperienceasa
livecreaturecauseslinesandcolorstoarrangethemselvesinonepatternand
rhythmratherthaninanother.Thepassionatenessthatmarksobservationgoes
withthedevelopmentofthenewformitisthedistinctlyestheticemotionthat
hasbeenspokenof.Butitisnotindependentofsomeprioremotionthathas
stirredinthe

88

ARTASEXPERIENCE

artistsexperiencethelatterisrenewedandrecreatedthroughfusionwithan

emotionbelongingtovisionofestheticallyqualifiedmaterial.
Iftheseconsiderationsareborneinmind,acertainambiguitythatattachesto
thepassagequotedwillbeclearedup.Hespeaksoflinesandtheirrelations
beingfullofmeaning.Butforanythingexplicitlystated,themeaningtowhichhe
refersmightbe
exclusiveiy
oflinesintheirrelationstooneanother.Thenthe
meaningsoflinesandcolorswouldcompletelyreplaceallmeaningsthatattach
tothisandanyotherexperienceofnaturalscene.Inthatcase,themeaningof
theestheticobjectisuniqueinthesenseofseparationfrommeaningsof
everythingelseexperienced.Theworkofartisthenexpressiveonlyinthesense
thatitexpressessomethingwhichbelongsexclusivelytoart.Thatsomethingof
thiskindisintendedmaybeinferredfromanotherstatementofMr.Frysthatis
oftenquoted,totheeffectthatsubjectmatterinaworkofartisalways
irrelevant,ifnotactuallydetrimental.
Thusthepassagesquotedbringtoafocustheproblemofthenatureof
representationinart.Theemphasisofthefirstpassageuponemergenceof
newlinesandcolorsinnewrelationsisneeded.Itsavesthosewhoheeditfrom
theassumption,usualinpracticeifnotintheoryespeciallyinconnectionwith
painting,thatrepresentationsignifieseitherimitationoragreeablereminiscence.
Butthestatementthatsubjectmatterisirrelevantcommitsthosewhoacceptitto
acompletelyesoterictheoryofart.Mr.Frygoesontosay:Insofarastheartist
looksatobjectsonlyaspartsofawholefieldofvisionwhichishisownpotential
theory,hecangivenoaccountoftheirestheticvalue.Andheadds:...theartist
isofallmenthemostconstantlyobservantofhissurroundings,andtheleast

affectedbytheirintrinsicestheticvalue.Otherwise,howexplainthetendencyof
thepaintertoturnawayfromscenesandobjectsthatpossessobviousesthetic
valuetothingsthatstirhimbecauseofsomeoddityapdform?Whyishemore
likelytopaintSohothanSt.Pauls?
ThetendencytowhichMr.Fryrefersisanactualone,justasisthetendency
ofcriticstocondemnapictureonthepoundthatitssubjectmatterissordid,or
eccentric.Butitisequallytrue,thatanyauthenticartistwillavoidmaterialthat

THEEXPRESSIVEOBJECT

89

haspreviouslybeenestheticallyexploitedtothefullandwillseekoutmaterial
inwhichhiscapacityforindividualvisionandrenderingcanhavefreeplay.He
leavesittolessermentogoonsayingwithslightvariationswhathasalready
beensaid.Beforewedecidethatsuchconsiderationsasthesedonotexplainthe
tendencytowhichMr.Fryrefers,beforewedrawtheparticularinferencehe
draws,wemustreturntotheforceofaconsiderationalreadynoted.
Mr.Fryisintentuponestablishingaradicaldifferencebetweenesthetic
valuesthatareintrinsictothingsofordinaryexperienceandtheestheticvalue
withwhichtheartistisconcerned.Hisimplicationisthattheformerisdirectly
connectedwithsubjectmatter,thelatterwithformthatisseparatedfromany
subjectmatter,savewhatis,esthetically,anaccident.Wereitpossibleforan
artisttoapproachascenewithnointerestsandattitudes,nobackgroundof
values,drawnfromhispriorexperience,hemight,theoretically,seelinesand
colorsexclusivelyintermsoftheirrelationshipsaslinesandcolors.Butthisisa
conditionimpossibletofulfill.Moreover,insuchacasetherewouldbenothingfor
himtobecomepassionateabout.Beforeanartistcandevelophisreconstruction
ofthescenebeforehimintermsoftherelationsofcolorsandlinescharacteristic
ofhispicture,heobservesthescenewithmeaningsandvaluesbroughttohis
perceptionbypriorexperiences.Theseareindeedremade,transformed,ashis
newestheticvisiontakesshape.Buttheycannotvanishandyettheartist
continuetoseeanobject.Nomatterhowardentlytheartistmightdesireit,he
cannotdivesthimself,inhisnewperception,ofmeaningsfundedfromhispast
intercoursewithhissurroundings,norcanhefreehimselffromtheinfluencethey

exertuponthesubstanceandmannerofhispresentseeing.Ifhecouldanddid,
therewouldbenothingleftinthewayofanobjectforhimtosee.
Aspectsandstatesofhispriorexperienceofvariedsubjectmattershave
beenwroughtintohisbeingtheyaretheorganswithwhichheperceives.
Creativevisionmodifiesthesematerials.Theytaketheirplaceinan
unprecedentedobjectofanewexperience.Memories,notnecessarilyconscious
butretentionsthathavebeenorganicallyincorporatedintheverystructureofthe
self,feedpresentobservation.Theyarethenutrimentthatgives

90

ARTASEXPERIENCE

bodytowhatisseen.Astheyarerewroughtintothematterofthenew

experience,theygivethenewlycreatedobjectexpressiveness.
Supposetheartistwishestoportraybymeansofhismediumtheemotional
stateortheenduringcharacterofsomeperson.Bythecompellingforceofhis
medium,hewill,ifanartistthatis,ifapainter,withdisciplinedrespectforhis
mediummodifytheobjectpresenttohim.Hewillreseetheobjectintermsof
lines,colors,light,spacerelationsthatformapictorialwhole,thatis,thatcreate
anobjectimmediatelyenjoyedinperception.Indenyingthattheartistattemptsto
representinthesenseofliteralreproductionofcolors,lines,etc.,astheyalready
existintheobject,Mr.Fryisadmirablyright.Buttheinferencethatthereisno
representationofanymeaningsofanysubjectmatterwhatever,nopresentation
thatisofasubjectmatterhavingameaningofitsownwhichclarifiesand
concentratesthediffusedanddulledmeaningsofotherexperiencesdoesnot
follow.GeneralizeMr.Fryscontentionregardingpaintingbyextensiontodrama
orpoetryandthelatterceasetobe.
Thedifferencebetweenthetwokindsofrepresentationmaybeindicatedby
referencetodrawing.Apersonwithaknackcaneasilyjotdownlinesthat
suggestfear,rage,amusement,andsoon.Heindicateselationbylinescurved
inonedirection,sorrowbycurvesintheoppositedirection.Buttheresultisnot
anobjectof
perception.
Whatisseenpassesatonceoverintothething
suggested.Thedrawingissimilarinkindthoughnotinitsconstituentstoa
signboard.Theobjectindicatesratherthancontainsmeaning.Itsvalueislike
thatofthesignboardtothemotoristinthedirectionitgivestofurtheractivity.The

arrangementoflinesandspacesisnotenjoyedinperceptionbecauseofitsown
experiencedqualitybutbecauseofwhatitremindsusof.
Thereisanothergreatdifferencebetweenexpressionandstatement.The
latterisgeneralized.Anintellectualstatementisvaluableinthedegreeinwhichit
conductsthemindtomanythingsallofthesamekind.Itiseffectiveintheextent
towhich,likeanevenpavement,ittransportsuseasilytomanyplaces.The
meaningofanexpressiveobject,onthecontrary,isindividualized.The
diagrammaticdrawingthatsuggestsgriefdoesnotconveythegriefofan
individualpersonitexhibitsthe
kind
of

THEEXPRESSIVEOBJECT

facialexpressionpersonsingeneralmanifestwhensufferinggrief.The
estheticportrayalofgriefmanifeststhegriefofaparticularindividualin
connectionwithaparticularevent.Itis
that
stateofsorrowwhichisdepicted,not
depressionunattached.Ithasa
local
habitation.
Astateofbeatitudeisacommonthemeinreligiouspaintings.Saintsare
presentedasenjoyingaconditionofblissfulhappiness.Butinmostoftheearlier
religiouspaintings,thisstateisindicatedratherthanexpressed.Thelinesthat
setitforthforidentificationarelikepropositionalsigns.Theyarealmostasmuch
ofasetandgeneralizednatureasthehalothatsurroundstheheadsofsaints.
Informationisconveyedofanedifyingcharacterbysymbolsasconventionalas
thosewhicharebroughtintodistinguishvariousSt.Catherinesortomarkthe
differentMarysatthefootofthecross.Thereisnonecessaryrelation,butonly
anassociationcultivatedinecclesiasticalcirclesbetweenthegenericstateof
blissandtheparticularfigureinquestion.Itmayarouseasimilaremotionin
personswhostillcherishthesameassociations.Butinsteadofbeingesthetic,it
willbeofthekinddescribedbyWilliamJames:IrememberseeinganEnglish
couplesitformorethananhouronapiercingFebruarydayintheAcademyin
VenicebeforethecelebratedAssumptionbyTitianandwhenI,afterbeing
chasedfromroomtoroombythecold,concludedtogetintothesunshineasfast
aspossibleandletthepicturesgo,butbeforeleavingdrewreverentlynearto
themtolearnwithwhatsuperiorformsofsusceptibilitytheymightbeendowed,
allIoverheardwasthewoman~svoicemurmuring:Whata
deprecatory
expressionherfacewears!Whatselfabnegation!How
unworthy
shefeelsofthe
honorsheisreceiving.

ThesentimentalreligiosityofMurillospaintingsaffordsagoodexampleof
whathappenswhenapainterofundoubtedtalentsubordinateshisartisticsense
toassociatedmeaningsthatareartisticallyirrelevant.Beforehispaintings,the
typeofremarkthatwaswhollyoutofplaceinthecaseofTitianwouldbe
pertinent.Butitwouldcarrywithitalackofestheticfulfillment.
Giottopaintedsaints.Buttheirfacesarelessconventionaltheyaremore
individualandhencesnorenaturalisticallypor

92

ARTASEXPERIENCE

trayed.Atthesametimetheyaremoreestheticallypresented.Theartistnow

useslight,space,colorandline,themedia,topresentanobjectthatbelongsof
itselfinanenjoyedperceptualexperience.Thedistinctivehumanreligious
meaningandthedistinctiveestheticvalueinterpenetrateandfusetheobjectis
trulyexpressive.ThispartofthepictureisasunmistakablyaGiottoasthesaints
ofMasaccioareMasaccios.Blissisnotastenciltransferablefromonepainters
worktothatofanother,butbearsthemarksofitsindividualcreator,forit
expresses
his
experienceaswellasthatpresumedtobelongtoasaintin
general.Meaningismorefullyexpressed,eveninitsessentialnature,inan
individualizedformthaninadiagrammaticrepresentationorinaliteralcopy.The
lattercontainstoomuchthatisirrelevanttheformeristooindefinite.Anartistic
relationshipbetweencolor,light,andspaceinaportraitisnotonlymore
enjoyablethanisanoutlinestencilbutitsaysmore.InaportraitbyTitian,
Tintoretto,Rembrandt,orGoya,weseemtobeinthepresenceofessential
character.Buttheresultisaccomplishedbystrictlyplasticmeans,whilethevery
wayinwhichbackgroundsarehandledgivesussomethingmorethan
personality.Distortionoflinesanddeparturesfromactualcolormaynotonlyadd
toestheticeffectbutresultinincreasedexpressiveness.Forthenmaterialisnot
subordinatedtosomeparticularandantecedentmeaningentertainedaboutthe
personinquestion(andaliteralreproductioncangiveonlyacrosssection
exhibitedataparticularmoment),butitisreconstructedandreorganizedto
expresstheartistsimaginativevisionofthewholebeingoftheperson.
Thereisnomorecommonmisunderstandingofpaintingthanattendsthe
natureofdrawing.Theobserver,whohaslearnedtorecognizebutnotto

perceiveesthetically,willstandbeforeaBotticelli,anElGreco,orCezanneand
sayWhatapitythepainterhasneverlearnedtodraw.Yetdrawingmaybethe
artistsforte.Dr.Barneshaspointedouttherealfunctionofdrawinginpictures.It
isnotameansforsecuringexpressivenessingeneralbutaveryspecialvalueof
expression.Itisnotameansofassistingrecognitionbymeansofexactoutline
anddefiniteshading.Drawingisdrawing
out
itisextractionofwhatthesubject
matterhastosayinparticulartothepainterinhisintegratedexperience.
Becausethepaintingisaunityofinter

THEEXPRESSIVEOBJECT

93

relatedparts,everydesignationofaparticularfigurehas,moreover,tobe
drawn
into
arelationofmutualreenforcementwithallotherplasticmeanscolor,
light,thespatialplanesandtheplacingofotherparts.Thisintegrationmay,and
infactdoes,involvewhatis,fromthestandpointoftheshapeoftherealthing,a
physicaldistortion.*
Linearoutlinesthatareusedtoreproducewithaccuracyaparticularshape
areofnecessitylimitedinexpressiveness.Theyexpresseitherjustonething,
realisticallyasitissometimessaid,ortheyexpressageneralizedkindofthing
bywhichwerecognizethespeciesbeingaman,atree,asaint,orwhatever.
Linesestheticallydrawnfulfillmanyfunctionswithcorrespondingincreaseof
expressiveness.Theyembodythemeaningofvolume,ofroomandposition
solidityandmovementtheyenterintotheforceofallotherpartsofthepicture,
andtheyservetorelateallpartstogethersothatthevalueofthewholeis
energeticallyexpressed.Nomereskillindraughtsmanshipcanmakelinesthat
willfulfillallthesefunctions.Onthecontrary,isolatedskillinthisrespectis
practicallysuretoendinaconstructionwhereinlinearoutlinesstandoutby
themselves,thusmarringtheexpressivenessoftheworkasawhole.Inthe
historicaldevelopmentofpainting,thedeterminationofshapesbydrawinghas
steadilyprogressedfromgivingapleasingindicationofaparticularobjectto
becomearelationshipofplanesandaharmoniousmergingofcolors.
Abstractartmayseemtobeanexceptiontowhathasbeensaidabout
expressivenessandmeaning.Worksofabstractartareassertedbysomenotto
beworksofartatall,andbyotherstobetheveryacmeofart.Thelatter
estimatethembytheirremotenessfromrepresentationinitsliteralsensethe

formerdenytheyhaveanyexpressiveness.Thesolutionofthematterisfound,I
think,inthefollowingstatementofDr.Barnes.Referencetotherealworlddoes
notdisappearfromartasformsceasetobethoseofactuallyexistingthings,any
morethanobjectivitydisappearsfromsciencewhenitceasestotalkintermsof
earth,fire,airandwater,andsubstitutesforthesethingsthelesseasily
recognizablehydrogen,oxygen,nitrogen,

*Barnes,TheArtinPainting,pp.86and226,andTheArtofMatisse,the
chapteronDrawing,especiallypp.8182..

94

ARTASEXPERIENCE

andcarbon....Whenwecannotfindinapicturerepresentationofany

particularobject,whatitrepresentsmaybethequalitieswhich
all
particular
objectsshare,suchascolor,extensity,solidity,movement,rhythm,etc.All
particularthingshavethesequalitieshencewhatserves,sotospeak,asa
paradigmofthevisibleessenceofallthingsmayholdinsolutiontheemotions
whichindividualizedthingsprovokeinamorespecializedway.*
Artdoesnot,inshort,ceasetobeexpressivebecauseitrendersinvisible
formrelationsofthings,withoutanymoreindicationoftheparticularsthathave
therelationsthanisnecessarytocomposeawhole.Everyworkofartabstracts
insomedegreefromtheparticulartraitsofobjectsexpressed.Otherwise,it
wouldonly,bymeansofexactimitation,createanillusionofthepresenceofthe
thingsthemselves.Theultimatesubjectmatterofstilllifepaintingishighly
realisticnapery,pans,apples,bowls.ButastilllifebyChardinorCezanne
presentsthesematerialsintermsofrelationsoflines,planesandcolors
inherentlyenjoyedinperception.Thisreorderingcouldnotoccurwithoutsome
measureofabstractionfromphysicalexistence.Indeed,theveryattemptto
presentthreedimensionalobjectsonatwodimensionalplanedemands
abstractionfromtheusualconditionsinwhichtheyexist.Thereisno
apriori
rule
todecidehowfarabstractionmaybecarried.Inaworkofarttheproofofthe
puddingisdecidedlyintheeating.TherearestilllifesofCezanneinwhichoneof
theobjectsisactuallylevitated.Yettheexpressivenessofthewholetoan
observerwithestheticvisionisenhancednotlowered.Itcarriesfurtheratrait
whicheveryonetakesforgrantedinlookingatapicturenamely,thatnoobject
inthepictureis
physically
supportedbyanyother.Thesupporttheygivetoone

anotherliesintheirrespectivecontributionstotheperceptualexperience.
Expressionofthereadinessofobjectstomove,althoughtemporarilysustainedin
equilibrium,isintensifiedbyabstractionfromconditionsthatarephysicallyand
externallypossible.Abstractionisusuallyassociatedwithdistinctively
intellectualundertakings.Actuallyitisfoundineveryworkofart.Thedifference
istheinterestinwhichandpurposeforwhichabstractiontakesplaceinscience
andartrespectively.
*TheArtinPainting,p.52.TheoriginoftheideaisreferredtoDr.
Buermeyer.

THEEXPRESSIVEOBJECT

95

Inscienceitoccursforthesakeofeffectivestatement,asthathasbeen
definedinart,forthesakeofexpressivenessoftheobject,andtheartistsown
beingandexperiencedetermine
what
shallbeexpressedandthereforethe
natureandextentoftheabstractionthatoccurs.
Itiseverywhereacceptedthatartinvolvesselection.Lackofselectionor
undirectedattentionresultsinunorganizedmiscellany.Thedirectivesourceof
selectionisinterestanunconsciousbutorganicbiastowardcertainaspectsand
valuesofthecomplexandvariegateduniverseinwhichwelive.Innocasecana
workofartrivaltheinfiniteconcretenessofnature.Anartistisruthless,whenhe
selects,infollowingthelogicofhisinterestwhileheaddstohisselectivebentan
efflorescenceoraboundinginthesenseordirectioninwhichheisdrawn.The
onelimitthatmustnotbeoverpassedisthatsomereferencetothequalitiesand
structureofthingsinenvironmentremain.Otherwise,theartistworksinapurely
privateframeofreferenceandtheoutcomeiswithoutsense,evenifvividcolors
orloudsoundsarepresent.Thedistancebetweenscientificformsandconcrete
objectsshowstheextenttowhichdifferentartsmaycarrytheirselective
transformationswithoutlosingreferencetotheobjectiveframeofreference.
ThenudesofRenoirgivedelightwithnopornographicsuggestion.The
voluptuousqualitiesoffleshareretained,evenaccentuated.Butconditionsofthe
physicalexistenceofnudebodieshavebeenabstractedfrom.Through
abstractionandbymeansofthemediumofcolor,ordinaryassociationswithbare
bodiesaretransferredintoanewrealm,fortheseassociationsarepractical
stimuliwhichdisappearintheworkofart.Theestheticexpelsthephysical,and
theheighteningofqualitiescommontofleshwithflowersejectstheerotic.The

conceptionthatobjectshavefixedandunalterablevaluesispreciselythe
prejudicefromwhichartemancipatesus.Theintrinsicqualitiesofthingscome
outwithstartlingvigorandfreshnessjustbecauseconventionalassociationsare
removed.
Themootproblemoftheplaceoftheuglyinworksofartseemstometo
receiveitssolutionwhenitstermsareseeninthiscontext.Thattowhichthe
worduglyisappliedistheobjectinitscustomaryassociations,thosewhich
havecometo

96

ARTASEXPERIENCE

appearaninherentpartofsomeobject.Itdoesnotapplytowhatispresentin

thepictureordrama.Thereistransformationbecauseofemergenceinanobject
havingitsownexpressiveness:
exactlyasinthecaseofRenoirsnudes.Somethingwhichwasuglyunder
otherconditions,theusualones,isextractedfromtheconditionsinwhichitwas
repulsiveandistransfiguredinqualityasitbecomesapartofanexpressive
whole.Initsnewsetting,theverycontrastwithaformeruglinessaddspiquancy,
animation,and,inseriousmatters,increasesdepthofmeaninginanalmost
incredibleway.
Thepeculiarpoweroftragedytoleaveusattheendwithasenseof
reconciliationratherthanwithoneofhorrorformsthethemeofoneoftheoldest
discussionsofliteraryart.*Iquoteonetheorywhichisrelevanttothepresent
discussion.SamuelJohnsonsaid:Thedelightoftragedyproceedsfromour
consciousnessoffictionifwethoughtmurdersandtreasonsrealtheywould
pleaseusnomore.Thisexplanationseemstobeconstructedonthemodelof
thesmallboysstatementthatpinshadsavedmanypersonslivesonaccountof
theirnotswallowingthem.Theabsenceofrealityinthedramaticeventis,
indeed,anegativeconditionoftheeffectoftragedy.Butfictitiouskillingisnot
thereforepleasant.Thepositivefactisthataparticularsubjectmatterinbeing
removedfromitspracticalcontexthasenteredintoanewwholeasanintegral
partofit.Initsnewrelationships,itacquiresanewexpression.Itbecomesa
qualitativepartofanewqualitativedesign.Mr.ColvinafterquotingfromJohnson
thepassagejustcited,adds:Sodoesourpeculiarconsciousnessofpleasurein
watchingthefencingmatchinAsYouLikeIt,dependonourconsciousnessof

fiction.Here,too,anegativeconditionistreatedasapositiveforce.
Consciousnessoffictionisabackhandedwayofexpressingsomethingthatin
*1cannotbutthinkthattheamountofthoughtwhichhasbeendevotedto
findingingeniousexplanationsfortheAristotelianideaofcatharsisIsduerather
tothefascinationofthetopicthantoanysubtletyonAristotlespart.Thesixtyor
moremeaningsthathavebeengiventoitseemunnecessaryInviewofhisown
literalstatementthatpersonsaregiventoexcessiveemotion,andthatas
religiousmusiccurespeopleinreligiousfrenzylikepersonscuredbyadrug,so
theexcessivelytimidandcompassionate,andallsufferingfromoverintense
emotions,arepurgedbymelodies,andthereliefisageeable.

THEEXPRESSIVEOBJECT

97

itselfisintenselypositive:theconsciousnessofanintegralwholeinwhichan
incidentgetsanewqualitativevalue.

INdiscussingtheactofexpression,wesawthattheconversionofanactof
immediatedischargeintooneofexpressiondependsuponexistenceof
conditionsthatimpededirectmanifestationandthatswitchitintoachannel
whereitiscoordinatedwithotherimpulsions.Theinhibitionoftheoriginalraw
emotionisnotasuppressionofitrestraintisnot,inart,identicalwithconstraint.
Theimpulsionismodifiedbycollateraltendenciesthemodificationgivesit
addedmeaningthemeaningofthewholeofwhichitishenceforthaconstituent
part.Inestheticperception,therearetwomodesofcollateralandcooperative
responsewhichareinvolvedinthechangeofdirectdischargeintoanactof
expression.Thesetwowaysofsubordinationandreenforcementexplainthe
expressivenessoftheperceivedobject.Bytheirmeans,aparticularincident
ceasestobeastimulustodirectactionandbecomesavalueofaperceived
object.
Thefirstofthesecollateralfactorsistheexistenceofmotordispositions
previouslyformed.Asurgeon,golfer,ballplayer,aswellasadancer,painter,or
violinplayerhasathandandundercommandcertainmotorsetsofthebody.
Withoutthem,nocomplexskilledactcanbeperformed.Aninexperthuntsman
hasbuckfeverwhenhesuddenlycomesuponthegamehehasbeenpursuing.
Hedoesnothaveeffectivelinesofmotorresponsereadyandwaiting.His
tendenciestoactionthereforeconflictandgetinthewayofoneanother,andthe

resultisconfusion,awhirlandblur.Theoldhandatthegamemaybe
emotionallystirredalso.Butheworksoffhisemotionbydirectinghisresponse
alongchannelspreparedinadvance:steadyholdingofeyeandhand,sightingof
rifle,etc.Ifwesubstituteapainterorapoetinthecircumstancesofsuddenly
cominguponagracefuldeerinagreenandsunspeckedforest,thereisalso
diversionofimmediateresponseintocollateralchannels.Hedoesnotgetready
toshoot,butneitherdoeshepermithisresponsetodiffuseitselfatrandom
throughhiswholebody.Themotorco6rdinationsthatarereadybecauseofprior
experienceatoncerenderhisperceptionofthesituationmoreacuteandintense
andincorporate

98

ARTASEXPERIENCE

intoitmeaningsthatgiveitdepth,whiletheyalsocausewhatisseentofall

intofittingrhythms.
Ihavebeenspeakingfromthestandpointoftheonewhoacts.Butprecisely
similarconsiderationsholdfromthesideoftheperceiver.Theremustbeindirect
andcollateralchannelsofresponsepreparedinadvanceinthecaseofonewho
reallyseesthepictureorhearsthemusic.Thismotorpreparationisalargepart
ofestheticeducationinanyparticularline.Toknowwhattolookforandhowto
seeitisanaffairofreadinessonthepartofmotorequipment.Askilledsurgeon
istheonewhoappreciatestheartistryofanothersurgeonsperformancehe
followsitsympathetically,thoughnotovertly,inhisownbody.Theonewho
knowssomethingabouttherelationofthemovementsofthepianoplayertothe
productionofmusicfromthepianowillhearsomethingthemerelaymandoes
notperceivejustastheexpertperformerfingersmusicwhileengagedin
readingascore.Onedoesnothavetoknowmuchaboutmixingpaintsona
paletteoraboutthebrushstrokesthattransferpigmentstocanvastoseethe
pictureinthepainting.Butitisnecessarythattherebereadydefinedchannelsof
motorresponse,dueinparttonativeconstitutionandinparttoeducation
throughexperience.Emotionmaybestirredandyetbeasirrelevanttotheactof
perceptionasitistotheactionofthehunterseizedbybuckfever.Itisnottoo
muchtosaythatemotionthatlackspropermotorlinesofoperationwillbeso
undirectedastoconfuseanddistortperception.
Butsomethingisneededtocooperatewithdefinedmotorlinesofresponse.
Asunpreparedpersonatthetheatermaybesoreadytotakeanactivepartin
whatisgoingoninhelpingtheheroandfoilingthevillainashewouldliketodo

inreallifeasnottoseetheplay.Butablasecriticmaypermithistrained
modesoftechnicalresponseultimatelyalwaysmotortocontrolhimtosuch
anextentthat,whileheskillfullyapprehends
how
thingsaredone,hedoesnot
carefor
what
isexpressed.Theotherfactorthatisrequiredinorderthatawork
maybeexpressivetoapercipientismeaningsandvaluesextractedfromprior
experiencesandfundedinsuchawaythattheyfusewiththequalitiesdirectly
presentedintheworkofart.Technicalresponses,ifnotheldinbalancewith
suchsecondarysupplied

THEEXPRESSIVEOBJECT

material,aresopurelytechnicalthattheexpressivenessoftheobjectis
narrowlylimited.Butifthealliedmaterialofformerexperiencesdoesnotdirectly
blendwiththequalitiesofthepoemorpainting,theyremainextraneous
suggestions,notpartoftheexpressivenessoftheobjectitself.
Ihaveavoidedtheuseofthewordassociationbecausetraditional
psychologysupposesthatassociatedmaterialandtheimmediatecolororsound
thatevokesitremainseparatefromoneanother.Itdoesnotadmitofthe
possibilityofafusionsocompleteastoincorporatebothmembersinasingle
whole.Thispsychologyholdsthatdirectsensuousqualityisonething,andan
ideaorimagewhichitcallsoutorsuggestsisanotherdistinctmentalitem.The
esthetictheorybasedonthispsychologycannotadmitthatthesuggestingand
thesuggestedmayinterpenetrateandformaunityinwhichpresentsensequality
confersvividnessofrealizationwhilethematerialevokedsuppliescontentand
depth.
Theissuethatisinvolvedhasamuchgreaterimportforthephilosophyof
estheticsthanappearsatfirstsight.Thequestionoftherelationthatexists
betweendirectsensuousmatterandthatwhichisincorporatedwithitbecauseof
priorexperiences,goestotheheartoftheexpressivenessofanobject.Failureto
seethatwhattakesplaceisnotexternalassociationbutisinternalandintrinsic
integrationhasledtotwoopposedandequallyfalseconceptionsofthenatureof
expression.Accordingtoonetheory,
esthetic
expressivenessbelongstothe
directsensuousqualities,whatisaddedbysuggestiononlyrenderingtheobject
moreinterestingbutnotbecomingapartofitsestheticbeing.Theothertheory

takestheoppositetack,andimputesexpressivenesswhollytoassociated
material.
Theexpressivenessoflinesasmerelinesisofferedasproofthatesthetic
valuebelongstosensequalitiesinandofthemselvestheirstatusmayserveas
atestofthetheory.Differentkindsoflines,straightandcurved,andamongthe
straightthehorizontalandvertical,andamongcurvesthosethataredosedand
thosethatdroopandrise,havedifferentimmediateestheticqualities.Ofthisfact
thereisnodoubt.Butthetheoryunderconsiderationholdsthattheirpeculiar
expressivenesscanbeexplainedwithoutanyreferencebeyondtheimmediate
sensory

100

ARTASEXPERIENCE

apparatusdirectlyinvolved.Itisheldthatthedrystiffnessofastraightlineis
duetothefactthattheeyeinseeingtendstochangedirection,tomovein
tangents,sothatitactsundercoercionwhencompelledtomovestraighton,so
that,inconsequence,theexperiencedresultisunpleasant.Curvedlines,onthe
otherhand,areagreeablebecausetheyconformtothenaturaltendenciesofthe
eyesownmovements.
Itisadmittedthatthisfactorprobablydoeshavesomethingtodowiththe
merepleasantnessorunpleasantnessoftheexperience.Buttheproblemof
expressivenessisnottouched.Whiletheopticalapparatusmaybeisolatedin
anatomicaldissection,itnever
functions
inisolation.Itoperatesinconnection
withthehandinreachingforthingsandinexploringtheirsurface,inguiding
manipulationofthings,indirectinglocomotion.Thisfacthasforitsconsequence
theotherfactthatthesensequalitiescomingtousbymeansoftheoptical
apparatusaresimultaneouslyboundupwiththosethatcometousfromobjects
throughcollateralactivities.Theroundnessseenisthatofballsanglesperceived
aretheresultnotjustofswitchesintheeyemovementsbutarepropertiesof
booksandboxeshandledcurvesarethearchofthesky,thedomeofabuilding
horizontallinesareseenasthespreadoftheground,theedgesofthingsaround
us.Thisfactorissocontinuallyandsounfailinglyinvolvedineveryuseofthe
eyesthatthevisuallyexperiencedqualitiesoflinescannotpossiblybereferredto
theactionoftheeyesalone.
Nature,inotherwords,doesnotpresentuswithlinesinisolation.As
experienced,theyarethelinesofobjectsboundariesof
things.
Theydefinethe
shapesbywhichweordinarilyrecognizeobjectsaboutus.Hencelines,even

whenwetrytoignoreeverythingelseandgazeupontheminisolation,carryover
themeaningoftheobjectsofwhichtheyhavebeenconstituentparts.Theyare
expressiveofthenaturalscenestheyhavedefinedforus.Whilelinesdemarcate
anddefineobjects,theyalsoassembleandconnect.Onewhohasrunintoa
sharplyprojectingcornerwillappreciatetheaptnessofthetermacuteangle.
Objectswithwidelyspreadinglinesoftenhavethatgapingqualitysostupidthat
wecallitobtuse.Thatistosay,linesexpressthewaysinwhichthingsactupon
oneanotheranduponusthewaysinwhich,whenobjectsacttogether,they
reinforce

THEEXPRESSIVEOBJECT

101

andinterfere.For
this
reason,linesarewavering,upright,oblique,crooked,
majesticforthisreasontheyseemindirectperceptiontohaveevenmoral
expressiveness.Theyareearthboundandaspiringintimateandcoldlyaloof
enticingandrepellent.Theycarrywiththemthepropertiesofobjects.
Thehabitualpropertiesoflinescannotbegotridofeveninanexperiment
thatendeavorstoisolatetheexperienceoflinesfromeverythingelse.The
propertiesofobjectsthatlinesdefineandofmovementstheyrelatearetoo
deeplyembedded.Thesepropertiesareresonancesofamultitudeof
experiencesinwhich,inourconcernwithobjects,wearenotevenawareoflines
assuch.Differentlinesanddifferentrelationsoflineshavebecome
subconsciouslychargedwithallthevaluesthatresultfromwhattheyhavedone
inourexperienceinoureverycontactwiththeworldaboutus.The
expressivenessoflinesandspacerelationsinpaintingcannotbeunderstood
uponanyotherbasis.
Theothertheorydeniesthatimmediatesensequalitieshave
any
expressivenessitholdsthatsenseservesmerelyasanexternalvehicleby
whichothermeaningsareconveyedtous.VernonLee,herselfanartistof
undoubtedsensitiveness,hasdevelopedthistheorymostconsistently,andina
way,which,whileithassomethingincommonwiththeGermantheoryof
Einfuehling
orempathy,avoidstheideathatourestheticperceptionisa
projectionintoobjectsofaninternalmimicryoftheirproperties,onewhichwe
dramaticallyenactwhenwelookatthematheorythat,inturn,ishardlymore
thanananimisticversionoftheclassictheoryofrepresentation.

AccordingtoVernonLee,aswellastosomeothertheoristsinthefieldof
esthetics,artsignifiesagroupofactivitiesthatare,respectively,recording,
constructive,logicalandcommunicative.Thereisnothingestheticaboutartitself.
Theproductsoftheseartsbecomeestheticinresponsetoatotallydifferent
desirehavingitsownreasons,standard,imperative.Thistotallydifferent
desireisthedesirefor
shapes,
andthisdesirearisesbecauseoftheneedfor
satisfactionofcongruousrelationsamongourmodesof
motor
imagery.Hence
directsensuousqualitieslikethoseofcolorandtoneareirrelevant.Thedemand
forshapesissatisfiedwhenourmotorimageryreenactsthe
relations
em

902

ARTASEXPERIENCE

bodiedinanobjectas,forexample,thefanlikearrangementofsharply
convergentlinesandexquisitelyphrasedskylineofhills,pickedupatintervals
intosharpcrestsanddroppingdownmerelytorushupagaininlongrapid
concavecurves.
Sensoryqualitiesaresaidtobenonestheticbecause,unliketherelationswe
activelyenact,theyareforceduponusandtendtooverwhelmus.Whatcountsis
whatwe
do,
notwhatwereceive.Theessentialthingestheticallyisourown
mentalactivityofstarting,traveling,returningtoastartingpoint,holdingontothe
past,carryingitalongthemovementofattentionbackwardsandforwards,as
theseactsareexecutedbythemechanismofmotorimagery.Theresulting
relationsdefine
shape
andshapeis
wholly
amatterofrelations.Theytransform
whatwouldotherwisebemeaninglessjuxtapositionsorsequencesofsensations
intothesignificantentitieswhichcanberememberedandcognizedevenwhen
theirconstituentsensationsarecompletelyaltered,namely,intoshapes.The
outcomeisempathyinitstruemeaning.Itdealsnotdirectlywithmoodand
emotionbutwithdynamicconditionswhichenterintomoodsandemotionsand
taketheirnamesfromthem....Thevariousandvariouslycombineddramas
enactedbylinesandcurvesandanglestakeplacenotmthemarbleorpigment
embodyingthecontemplatedshapes,but
solelyinourselves....
Andsinceweare
theironlyrealactors,theseempathicdramasoflinesarehoundtoaffectus,
whetherascorroboratingorasthwartingourvitalneedsandhabits.(Italicsnot
intheoriginaltext.)
Thetheoryissignificantinthethoroughnesswithwhichitseparatessense
andrelations,matterandform,theactiveandthereceptive,phasesof

experience,andinitslogicalstatementofwhathappenswhentheyare
separated.Therecognitionofther6lesofrelationsandofactivityonourpart(the
latterbeingphysiologicallymediatedinallprobabilitybyourmotormechanisms)
iswelcomeincontrastwiththeoriesthatrecognizeonlysensequalitiesasthey
arepassivelyreceivedandundergone.Butatheorythatregardscolorinpainting
asestheticallyirrelevant,thatholdsthattonesinmusicaremerelysomething
uponwhichestheticrelationsaresuperimposed,hardlyseemstoneedrefutation.
Thetwotheoriesthathavebeencriticizedcomplement

THEEXPRESSIVEOBJECT

103

eachother.Butthetruthofesthetictheorycannotbearrivedatbya
mechanicaladditionofonetheorytotheother.Theexpressivenessoftheobject
ofartisduetothefactthatitpresentsathoroughandcompleteinterpenetration
ofthematerialsofundergoingandofaction,thelatterincludingareorganization
ofmatterbroughtwithusfrompastexperience.For,intheinterpenetration,the
latterismaterialnotaddedbywayofexternalassociationnoryetbywayof
superimpositionuponsensequalities.Theexpressivenessoftheobjectisthe
reportandcelebrationofthecompletefusionofwhatweundergoandwhatour
activityofattentiveperceptionbringsintowhatwereceivebymeansofthe
senses.
Thereferencetocorroborationofourvitalneedsandhabitsdeservesnotice.
Arethesevitalneedsandhabitspurelyformal?Cantheybesatisfiedthrough
relationsalone,ordotheydemandtobefedbythematterofcolorandsound?
ThatthelatteristhecaseseemstobeimplicitlyadmittedwhenVernonLeegoes
ontosaythatartsofarfromdeliveringusfromthesenseofreallyliving,
intensifiesandamplifiesthosestatesofserenityofwhichwearegiventhe
sample,toorare,toosmallandtooalloyedinthecourseofournormalpractical
life.Exactlyso.Buttheexperiencesthatartintensifiesandamplifiesneither
existsolelyinsideourselves,nordotheyconsistofrelationsapartfrommatter.
Themomentswhenthecreatureisbothmostaliveandmostcomposedand
concentratedarethoseoffullestintercoursewiththeenvironment,inwhich
sensuousmaterialandrelationsaremostcompletelymerged.Artwouldnot
amplifyexperienceifitwithdrewtheselfintotheselfnorwouldtheexperience
thatresultsfromsuchretirementbeexpressive.

BOTHofthetheoriesconsideredseparatethelivecreaturefromtheworldin
whichitliveslivesbyinteractionthroughaseriesofrelateddoingsand
undergoings,whichwhentheyareschematizedbypsychology,aremotorand
sensory.Thefirsttheoryfindsinorganicactivityisolatedfromtheeventsand
scenesoftheworldasufficientcauseoftheexpressivenatureofcertain
sensations.Theothertheorylocatestheestheticelementsolelyinourselves,
throughenactingofmotorrelationsinshapes.

104

ARTASEXPERIENCE

Buttheprocessoflivingiscontinuousitpossessescontinuitybecauseitis
aneverlastinglyrenewedprocessofactingupontheenvironmentandbeing
acteduponbyittogetherwithinstitutionofrelationsbetweenwhatisdoneand
whatisundergone.Henceexperienceisnecessarilycumulativeanditssubject
mattergainsexpressivenessbecauseofcumulativecontinuity.Theworldwe
haveexperiencedbecomesanintegralpartoftheselfthatactsandisacted
uponinfurtherexperience.Intheirphysicaloccurrence,thingsandevents
experiencedpassandaregone.Butsomethingoftheirmeaningandvalueis
retainedasanintegralpartoftheself.Throughhabitsformedinintercoursewith
theworld,wealsoinhabittheworld.Itbecomesahomeandthehomeispartof
oureveryexperience.
How,then,canobjectsofexperienceavoidbecomingexpressive?Yetapathy
andtorporconcealthisexpressivenessbybuildingashellaboutobjects.
Familiarityinducesindifference,prejudiceblindsusconceitlooksthroughthe
wrongendofatelescopeandminimizesthesignificancepossessedbyobjectsin
favoroftheallegedimportanceoftheself.Artthrowsoffthecoversthathidethe
expressivenessofexperiencedthingsitquickensusfromtheslacknessof
routineandenablesustoforgetourselvesbyfindingourselvesinthedelightof
experiencingtheworldaboutusinitsvariedqualitiesandforms.Itintercepts
everyshadeofexpressivenessfoundinobjectsandorderstheminanew
experienceoflife.
Becausetheobjectsofartareexpressive,theycommunicate.Idonotsay
thatcommunicationtoothersistheintentofanartist.Butitistheconsequence
ofhisworkwhichindeedlivesonlyincommunicationwhenitoperatesinthe

experienceofothers.Iftheartistdesirestocommunicatea
special
message,he
therebytendstolimittheexpressivenessofhisworktootherswhetherhe
wishestocommunicateamorallessonorasenseofhisowncleverness.
Indifferencetoresponseoftheimmediateaudienceisanecessarytraitofall
artiststhathavesomethingnewtosay.Buttheyareanimatedbyadeep
convictionthatsincetheycanonlysaywhattheyhavetosay,thetroubleisnot
withtheirworkbutthosewho,havingeyes,seenot,andhavingears,hearnot.
Communicabilityhasnothingtodowithpopularity.
IcanbutthinkthatmuchofwhatTolstoisaysabout

THEEXPRESSIVEOBJECT

106

immediatecontagionasatestofartisticqualityisfalse,andwhathesays
aboutthekindofmaterialwhichcanalonebecommunicatedisnarrow.Butifthe
timespanbeextended,itistruethatnomaniseloquentsavewhensomeoneis
movedashelistens.Thosewhoaremovedfeel,asTolstoisays,thatwhatthe
workexpressesisasifitweresomethingonehadoneselfbeenlongingto
express.Meantime,theartistworkstocreateanaudiencetowhichhedoes
communicate.Intheend,worksofartaretheonlymediaofcompleteand
unhinderedcommunicationbetweenmanandmanthatcanoccurinaworldfull
ofgulfsandwallsthatlimitcommunityofexperience.

CHAPTERVI
SUBSTANCEANDFORM

B
ECAUSEobjectsofartareexpressive,theyarealanguage.Ratherthey
aremanylanguages.Foreacharthasitsownmediumandthatmediumis
especiallyfittedforonekindofcommunication.Eachmediumsayssomething
thatcannotbeutteredaswellorascompletelyinanyothertongue.Theneeds
ofdailylifehavegivensuperiorpracticalimportancetoonemodeof
communication,thatofspeech.Thisfacthasunfortunatelygivenrisetoa
popularimpressionthatthemeaningsexpressedinarchitecture,sculpture,
painting,andmusiccanbetranslatedintowordswithlittleifanyloss.Infact,
eachartspeaksanidiomthatconveyswhatcannotbesaidinanotherlanguage
andyetremainsthesame.
Languageexistsonlywhenitislistenedtoaswellasspoken.Theheareris
anindispensablepartner.Theworkofartiscompleteonlyasitworksinthe
experienceofothersthantheonewhocreatedit.Thuslanguageinvolveswhat
logicianscallatriadicrelation.Thereisthespeaker,thethingsaid,andtheone
spokento.Theexternalobject,theproductofart,istheconnectinglinkbetween
artistandaudience.Evenwhentheartistworksinsolitudeallthreetermsare
present.Theworkisthereinprogress,andtheartisthastobecomevicariously
thereceivingaudience.Hecanspeakonlyashisworkappealstohimasone
spokentothroughwhatheperceives.Heobservesandunderstandsasathird
personmightnoteandinterpret.Matisseisreportedtohavesaid:Whena
paintingisfinished,itislikeanewbornchild.Theartisthimselfmusthavetime
forunderstandingit.Itmustbelivedwithasachildislivedwith,ifweareto
graspthemeaningofhisbeing.

Alllanguage,whateveritsmedium,involves
what
issaidand
how
itissaid,or
substanceandform.Thegreatquestionconcerningsubstanceandformis:
Doesmattercomefirst
106

SUBSTANCEANDFORM107

readymade,andsearchforadiscoveryofforminwhichtoembodyitcome
afterwards?Oristhewholecreativeeffortoftheartistanendeavortoform
materialsothatitwillbeinactualitytheauthenticsubstanceofaworkofart?The
questiongoesfaranddeep.Theanswergivenitdeterminestheissueofmany
othercontrovertedpointsinestheticcriticism.Isthereoneestheticvalue
belongingtosensematerialsandanothertoaformthatrendersthem
expressive?Areallsubjectsfitforesthetictreatmentoronlyafewwhichareset
asideforthatendbytheirintrinsicallysuperiorcharacter?Isbeautyanother
nameforformdescendingfromwithout,asatranscendentessence,upon
material,orisitanamefortheestheticqualitythatappearswhenever
materialis
formed
inawaythatrendersitadequatelyexpressive?Isform,initsesthetic
sense,somethingthatuniquelymarksoffasestheticfromthebeginningacertain
realmofobjects,orisittheabstractnameforwhatemergeswheneveran
experienceattainscompletedevelopment?
Allofthesequestionshavebeenimplicitinthediscussionsofthethree
previouschapters,andbyimplicationhavebeenanswered.Ifanartproductis
takentobeoneofselfexpressionandtheselfisregardedassomething
completeandselfcontainedinisolation,thenofcoursesubstanceandformfall
apart.Thatinwhichaselfrevelationisclothed,is,bytheunderlyingassumption,
externaltothethingsexpressed.Theexternalitypersistsnomatterwhichofthe
twoisregardedasformandwhichassubstance.Itisalsoclearthatiftherebe
no
selfexpression,nofreeplayofindividuality,theproductwillofnecessitybe
butaninstanceofaspeciesitwilllackthefreshnessandoriginalityfoundonlyin

thingsthatareindividualontheirownaccount.Hereisapointfromwhichthe
relationofformandsubstancemaybeapproached.
The
material
outofwhichaworkofartiscomposedbelongstothecommon
worldratherthantotheself,andyetthereisselfexpressioninartbecausethe
selfassimilatesthatmaterialinadistinctivewaytoreissueitintothepublicworld
inaformthatbuildsanewobject.Thisnewobjectmayhaveasitsconsequence
similarreconstructions,recreations,ofoldandcommonmaterialonthepartof
thosewhoperceiveit,andthusintimecometobeestablishedaspartofthe
acknowledgedworldas

lO8ARTASEXPERIENCE

universal.Thematerialexpressedcannotbeprivatethatisthestateofthe
madhouse.Butthe
manner
ofsayingitisindividual,and,iftheproductistobe
aworkofart,induplicable.Identityofmodeofproductiondefinestheworkofa
machine,theestheticcounterpartofwhichistheacademic.Thequalityofa
workof
art
is
suigeneris
becausethemannerinwhichgeneralmaterialis
renderedtransformsitintoasubstancethatisfreshandvital.
Whatistrueoftheproduceristrueoftheperceiver.Hemayperceive
academically,lookingforidentitieswithwhichhealreadyisfamiliarorlearnedly,
pedantically,lookingformaterialtofitintoahistoryorarticlehewishestowrite,
orsentimentallyforillustrationsofsomethemeemotionallydear.Butifhe
perceivesesthetically,hewillcreateanexperienceofwhichtheintrinsicsubject
matter,thesubstance,isnew.AnEnglishcritic,Mr.A.C.Bradley,hassaid
thatpoetrybeingpoems,wearetothinkofapoemasitactuallyexistsandan
actualpoemisasuccessionofexperiencessounds,images,thoughtthrough

whichwepasswhenwereadapoem....Apoemexistsinunnumberable
degrees.Anditisalsotruethatitexistsinunnumberablequalitiesorkinds,no
tworeadershavingexactlythesameexperience,accordingtotheforms,or
mannersofresponsebroughttoit.Anewpoemiscreatedbyeveryonewho
readspoeticallynotthatitsrawmaterialisoriginalfor,afterall,weliveinthe
sameoldworld,butthateveryindividualbringswithhim,whenheexerciseshis
individuality,awayofseeingandfeelingthatinitsinteractionwitholdmaterial
createssomethingnew,somethingpreviouslynotexistinginexperience.
Aworkofartnomatterhowoldandclassicisactually,notjustpotentially,a
workofartonlywhenitlivesinsomeindividualizedexperience.Asapieceof
parchment,ofmarble,ofcanvas,itremains(subjecttotheravagesoftime)
selfidenticalthroughouttheages.Butasaworkofart,itisrecreatedeverytime
itisestheticallyexperienced.Noonedoubtsthisfactintherenderingofa
musicalscorenoonesupposesthatthelinesanddotsonpaperaremorethan
therecordedmeansofevokingtheworkofart.Butwhatistrueofitisequally
trueoftheParthenonasabuilding.Itisabsurdtoaskwhatanartistreally
meantbyhisproduct:hehimselfwouldfinddifferentmeaningsinitat

SUBSTANCEANDFORM109

differentdaysandhoursandindifferentstagesofhisowndevelopment.Ifhe
couldbearticulate,hewouldsayImeantjust
that,
and
that
meanswhateveryou
oranyonecanhonestly,thatisinvirtueofyourownvitalexperience,getoutof
it.Anyotherideamakestheboasteduniversalityoftheworkofartasynonym
formonotonousidentity.TheParthenon,orwhatever,isuniversalbecauseitcan
continuouslyinspirenewpersonalrealizationsinexperience.
Itissimplyanimpossibilitythatanyonetodayshouldexperiencethe
ParthenonasthedevoutAtheniancontemporarycitizenexperiencedit,anymore
thanthereligiousstatuaryofthetwelfthcenturycanmean,esthetically,eventoa
goodCatholictodayjustwhatitmeanttotheworshipersoftheoldperiod.The
worksthatfailtobecome
new
arenotthosewhichareuniversalbutthose
whicharedated.Theenduringartproductmayhavebeen,andprobablywas,
calledforthbysomethingoccasional,somethinghavingitsowndateandplace.
But
what
wasevokedisasubstancesoformedthatitcanenterintothe
experiencesofothersandenablethemtohavemoreintenseandmorefully
roundedoutexperiencesoftheirown.
Thisiswhatitistohaveform.Itmarksawayofenvisaging,offeeling,andof
presentingexperiencedmattersothatitmostreadilyandeffectivelybecomes
materialfortheconstructionofadequateexperienceonthepartofthoseless
giftedthantheoriginalcreator.Hencetherecanbenodistinctiondrawn,savein
reflection,betweenformandsubstance.Theworkitself
is
matterformedinto
estheticsubstance.Thecritic,thetheorist,asareflectivestudentoftheart
product,however,notonlymaybutmustdrawadistinctionbetweenthem.Any
skilledobserverofapugilistoragolfplayerwill,Isuppose,institutedistinctions

between
what
isdoneandhowitisdonebetweentheknockoutandthe
mannerofthedeliveryofablowbetweentheballdrivensomanyyardstosuch
andsuchalineandthewaythedrivewasexecuted.Theartist,theoneengaged
indoing,willeffectasimilardistinctionwhenheisinterestedincorrectingan
habitualerror,orlearninghowbettertosecureagiveneffect.Yettheactitselfis
exactly
what
itisbecauseof
how
itisdone.Intheactthereisnodistinction,but
perfectintegrationofmannerandcontent,formandsubstance.

110ARTASEXPERIENCE

Theauthorjustquoted,Mr.Bradley,inanessayon
PoetryforPoetrysSake,
drawsadistinctionbetweensubjectandsubstancewhichmaywellformthestart
ofourfurtherdiscussionofthismatter.Thedistinctionmay,Ithink,be
paraphrasedasthatbetweenmatter
for
andmatter
in
artisticproduction.The
subjectormatterforiscapableofbeingindicatedanddescribedinother
fashionthanthatoftheartproductitself.Thematterin,theactualsubstance,
is
theartobjectitselfandhencecannotbeexpressedinanyotherway.The
subjectforMiltonsParadiseLostis,asBradleysays,thefallofmanin
connectionwiththerevoltoftheangelsathemealreadycurrentinChristian
circlesandreadilyidentifiablebyanyonefamiliarwiththeChristiantradition.
Thesubstanceofthepoem,theesthetic
matter,
isthepoemitselfwhatbecame
ofthesubjectasitunderwentMiltonsimaginativetreatment.Similarly,onecan
tellanotherinwordsthesubjectoftheAncientMariner.Buttoconveytohimits
substanceonewouldhavetoexposehimtothepoemandletthelatterhaveits
waywithhim.
ThedistinctionthatBradleydrawswithrespecttopoemsisequallyapplicable
toeveryart,evenarchitecture.ThesubjectoftheParthenonisPallasAthene,
theVirginGoddess,thepresidingdivinityofthecityofAthens.Ifonewilltakea
multitudeofartproductsofallkindsandsortsandkeeptheminmindlong
enoughtoassignasubjecttoeach,onewillseethatthesubstanceofworksof
artdealingwiththesamesubjectisinfinitelyvaried.Howmanypoemsare
thereinalllanguageshavingflowers,oreventherose,fortheirsubject?Hence
changesinartproductsarenotarbitrarytheydonotproceed,evenwhenquite
revolutionary,(asoneschoolofcriticsalwaysassumes)fromtheunregulated

wishofundisciplinedmentoproducesomethingnewandstartling.Theyare
inevitableasthecommonthingsoftheworldareexperiencedindifferentcultures
anddifferentpersonalities.ThesubjectthatmeantsomuchtotheAthenian
citizenofthefourthcenturyn.c.ishardlymorethanahistoricincidenttoday.
AnEnglishProtestantoftheseventeenthcenturywhosavoredtothefullthe
themeofMiltonsepicmayhavebeensooutofsympathywiththetopicand
settingofDantesDivineComedyastobeunabletoappreciatethelatters
artisticquality.Todayanunbelievermaybetheone

SUBSTANCEANDFORMIII

whoismostsensitiveestheticallytosuchpoems,justbecauseofindifference
totheirantecedentsubjectmatter.Ontheotherhand,manyanobserverof
picturesisnowunabletodofulljusticetothepaintingofPoussininitsintrinsic
plasticqualitiesbecauseitsclassicalthemesaresoalien.
Thesubject,asBradleysays,isoutsidethepoemthesubstanceiswithin
it
rather,
itis
thepoem.Subject,however,itselfvariesoverawiderange.Itmay
behardlymorethanalabelitmaybetheoccasionthatcalledouttheworkorit
maybethesubjectmatterwhichasrawmaterialenteredintothenewexperience
oftheartistandfoundtransformation.ThepoemsofKeatsandShelleyonthe
skylarkandnightingaleprobablydidnothavethesongsofthesebirdsalonefor
anoccasioningstimulus.Itiswell,then,forthesakeofclaritytodiscriminatenot
onlysubstancefromthemeortopic,butbothofthemfromantecedent
subjectmatter.ThesubjectoftheAncientMarineristhekillingofan
albatrossbyasailorandwhathappenedinconsequencethereof.Itsmatteris
thepoemitself.Itssubjectmatterisalltheexperiencesareaderbringswithhim
ofcrueltyandpityinconnectionwithalivingcreature.Theartisthimselfcan
hardlybeginwithasubjectalone.Ifhedid,hisworkwouldalmostsurelysuffer
fromartificiality.Firstcomessubjectmatter,thenthesubstanceormatterofthe
workfinallythedeterminationoftopicortheme.
Antecedentsubjectmatterisnotinstantaneouslychangedintothematterofa
workofartinthemindofanartist.Itisadevelopingprocess.Aswehave
alreadyseen,theartistfindswhereheisgoingbecauseofwhathehas
previouslydonethatis,theoriginalexcitationandstirofsomecontactwiththe
worldundergosuccessivetransformation.Thatstateofthematterhehasarrived

atsetsupdemandstobefulfilledanditinstitutesaframeworkthatlimitsfurther
operations.Astheexperienceoftransformingsubjectmatterintothevery
substanceoftheworkofartproceeds,incidentsandscenesthatfiguredatfirst
maydropoutandotherstaketheirplace,beingdrawninbythesuctionofthe
qualitativematerialthatarousedtheoriginalexcitement.
Thethemeorsubject,ontheotherhand,maybeofnosignificanceatallsave
forpurposesofpracticalidentification.Ioncesawalectureronpaintingobtaina
cheaplaughfromhis

112ARTASEXPERIENCE

audiencebyshowingacubisticpictureandaskingtheaudiencetoguess
whatitwasabout.Hethentoldthemitstitleasifthatwereeitherits
subjectmatteroritssubstance.Theartisthadlabeledhispictureforsome
reasonbestknowntohimself,whether
pourepaterlesbourgeois
orbecauseof
itsoccasion,orbecauseofsomesubtleaffinityofquality,bythenameofa
historicpersonage.Theimplicationofthelecturerandoftheaudienceslaugh
wasthattheobviousdisparitybetweenthetitleandthevisiblepicturewas
somehowareflectionontheestheticqualitiesofthelatter.Noonewouldallow
hisperceptionoftheParthenontobeinfluencedbythefactthathedidnot
happentoknowthesignificationofthewordbywhichthebuildingiscalled.Yet
thefallacyexists,especiallyinconnectionwithpictures,inmanywaysmuch
moresubtlethanthatillustratedbytheincidentofthelecture.
Titlesare,sotosay,socialmatters.Theyidentifyobjectsforeasyreference,
sothatoneknowswhatismeantwhenasymphonyofBeethovensiscalledthe
FifthorwhenTitiansEntombmentismentioned.ApoemofWordsworths
maybespecifiedbyname,butitmightbeidentifiedasthepoemfoundona
certainpageofagivenedition,aswellasbybeingcalledLucyGray.
RembrandtspaintingcanbenamedtheJewishWedding,orthatwhichhangs
onacertainwallofaparticularroomintheAmsterdamgallery.Musicians
usuallycalltheirworksbynumberwithperhapsanindicationofthekey.Painters
prefervaguetitles.Thusartists,perhapsunconsciously,strivetoescapefrom
thegeneraltendencytolinkanobjectofartwithsomesceneorcourseofevents
thatlistenersandspectatorsrecognizefromtheirpriorexperience.Apicture
maybecataloguedmerelyRiveratTwilight.Eventhen,manypersonswill

supposetheymustcarryintotheirexperienceofitsomerememberedriveronce
seenatthatparticularhour.Butinsuchtreatmentthepictureinsofarceasesto
beapictureandbecomesaninventoryordocument,asifitwereacolored
photographtakenforhistoricalorgeologicalpurposesortoservethebusinessof
adetective.
Thedistinctionsmadeareelementarybuttheyarebasicinesthetictheory.
Whenthereisanendofconfusionofsubjectandsubstance,therewillalsobean
end,forexample,oftheam

SUBSTANCEANDFORM113

biguitiesregardingrepresentationsuchashavebeendiscussed.Mr.Bradley
callsattentiontothecommontendencytotreataworkofartasamerereminder
ofsomething,bytheillustrationofthesightseerinapicturegallerywhoremarks
ashemovesalong,Thispictureissolikemycousin,orthatpicturetheimage
ofmybirthplace,andwho,aftersatisfyinghimselfthatonepaintingisabout
Elijah,passesonrejoicingtodiscoverthesubjectandnothingbutthesubjectof
thenextone.Unlesstheradicaldifferencebetweensubjectandsubstanceis
appreciated,notonlydoesthecasualvisitorgowrong,butcriticsandtheorists
judgeobjectsofartintermsoftheirpreconceptionsastowhatthesubjectmatter
ofartoughttobe.Thetimeisnotfarremotewhentheproperthingtosayabout
thedramasofIbsenwasthattheyaresordidandpaintingsthatmodify
subjectmatterinaccordancewithrequirementsofestheticforminwaysthat
involvedistortionofphysicalshapearecondemnedasarbitraryandcapricious.
Thepaintersjustretorttosuchamisunderstandingisfoundinaremarkof
Matisse.Whensomeonecomplainedtohimthatshehadneverseenawoman
wholookedliketheoneinhispainting,hereplied:Madam,thatisnotawoman
thatisapicture.Thecriticswhodraginextraneoussubjectmatterhistorical,
moral,sentimental,orintheguiseofestablishedcanonsthatprescribeproper
themesmaybevastlysuperiorinlearningtotheguideinthegallerywhosays
nothingaboutpaintingsaspicturesandagreatdealabouttheoccasionswhich
producedthemandthesentimentalassociationstheyarouse,themajestyof
MountBlancorthetragedyofAnneBoleynbutestheticallytheystandonthe
samelevel.

Thecitymanwholivedinthecountrywhenhewasaboyisgivento
purchasingpicturesofgreenmeadowswithgrazingcattleorpurling
brooksespeciallyifthereisalsoaswimminghole.Heobtainsfromsuch
picturesarevivalofcertainvaluesofhischildhoodminusattendant
backbreakingexperiences,plus,indeed,anaddedemotionalvaluebecauseof
contrastwithapresentwelltodoestate.Inallsuchcasesthepictureisnot
seen.Thepaintingisusedasaspringboardforarrivingatsentimentsthatare,
becauseofextraneoussubjectmatter,agreeable.Thesubjectmatterof
experiencesofchildhoodandyouthisneverthelessasubconsciousbackground
ofmuchgreatart.But

114ARTASEXPERIENCE

tobethesubstanceofart,itmustbemadeintoanewobjectbymeansofthe
mediumemployed,notmerelysuggestedinareminiscentway.

THEfactthatformandmatterareconnectedinaworkofartdoesnotmean
theyareidentical.Itsignifiesthatintheworkofarttheydonotofferthemselves
astwodistinctthings:theworkisformedmatter.Buttheyarelegitimately
distinguishedwhenreflectionsetsin,asitdoesincriticismandintheory.Weare
thencompelledtoinquireastotheformalstructureofthework,andinorderto
carryonthisinquiryintelligently,wemusthaveaconceptionofwhatformis
generically.Wemaygetakeytothisideabystartingfromthefactthatone
idiomaticuseofthewordmakesitequivalentwithshapeorfigure.Especiallyin
connectionwithpicturesisformfrequentlyidentifiedsimplywiththepatterns
definedbylinearoutlinesofshapes.Nowshapeisonlyanelementinesthetic
formitdoesnotconstituteit.Inordinaryperceptionwerecognizeandidentify
thingsbytheirshapesevenwordsandsentenceshaveshapes,whenheardas
wellaswhenseen.Considerhowamisplacedaccentdisturbsrecognitionmore
thandoesanyotherkindofmispronunciation.
Forshapeinrelationtorecognitionisnotlimitedtogeometricorspatial
properties.Thelatterplayapartonlyastheyaresubordinatedto
adaptationto
anend.
Shapesthatarenotinourmindsassociatedwithanyfunctionarehard
tograspandretain.Theshapesofspoons,knives,forks,householdarticles,
piecesoffurniture,aremeansofidentificationbecauseoftheirassociationwith
purpose.Uptoacertainpoint,then,shapeisalliedwithforminitsartisticsense.

Inboththereisorganizationofconstituentparts.Insomesensethetypical
shapeofevenautensilandtoolindicatesthatthemeaningofthewholehas
enteredintothepartstoqualifythem.Thisisthefactthathasledsome
theorists,likeHerbertSpencer,toidentifythesourceofbeautywithefficient
andeconomicaladaptationofpartstothefunctionofawhole.Insomecases
fitnessisindeedsoexquisiteastoconstitutevisiblegraceindependentofthe
thoughtofanyutility.Butthisspecialcaseindicatesthewayinwhichshapeand
formdiffergenerically.Forthereismoretogracethan

SUBSTANCEANDFORM115

justlackofclumsiness,inthesenseinwhichclumsymeantinefficiencyof
adaptationtoanend.Inshapeassuchadaptationisintrinsicallylimitedtoa
particularendlikethatofaspoonforcarryingliquidstothemouth.Thespoon
thatinadditionhasthatestheticformcalledgracebearsnosuchlimitation.
Agooddealofintellectualefforthasbeenexpendedintryingtoidentify
efficiencyforaparticularendwithbeautyorestheticquality.Butthese
attemptsareboundtofail,fortunateasitisthatinsomecasesthetwocoincide
andhumanlydesirableasitisthattheyshouldalwaysmeet.Foradaptationtoa
particularendisoften(alwaysinthecaseofcomplicatedaffairs)something
perceivedbythought,whileestheticeffectisfounddirectlyinsenseperception.
Achairmayservethepurposeofaffordingacomfortableandhygienically
efficientseat,withoutservingatthesametimetheneedsoftheeye.If,onthe
contrary,itblocksratherthanpromotesther6leofvisioninanexperience,itwill
beuglynomatterhowwelladaptedtouseasaseat.Thereisnopreestablished
harmonythatguaranteesthatwhatsatisfiestheneedofonesetoforganswill
fulfillthatofalltheotherstructuresandneedsthathaveapartintheexperience,
soastobringittocompletionasacomplexofallelements.Allwecansayis
thatintheabsenceofdisturbingcontexts,suchasproductionofobjectsfora
maximumofprivateprofit,abalancetendstobestrucksothatobjectswillbe
satisfactoryusefulinthestrictsensetotheselfasawhole,eventhough
somespecificefficiencybesacrificedintheprocess.Insofarthereisa
tendencyfordynamicshape(asdistinguishedfrombaregeometricfigure)to
blendwithartisticform.

Earlyinthehistoryofphilosophicthoughtthevalueofshapeinmaking
possiblethedefinitionandclassificationofobjectswasnotedandwasseized
uponasabasisforametaphysicaltheoryofthenatureofforms.Theempirical
factoftherelationship,effectedbyarrangementofpartstoadefiniteendand
uselikethatofspoonortableorcup.waswhollyneglectedandeven
repudiated.Formwastreatedassomethingintrinsic,astheveryessenceofa
thinginvirtueofthemetaphysicalstructureoftheuniverse.Itiseasytofollow
thecourseofreasoningthatledtothisresultprovidedtherelationofshapeto
useIsonceignored.Itisbyforminthesenseofadaptedshape

116ARTASEXPERIENCE

thatwebothidentifyanddistinguishthingsinperception:chairsfromtables,a
maplefromanoak.Sincewenoteorknowtheminthisway,and,since
knowledgewasbelievedtobearevelationofthetruenatureofthings,itwas
concludedthatthingsarewhattheyareinvirtueofhaving,intrinsically,certain
forms.
Moreover,sincethingsarerenderedknowablebytheseforms,itwas
concludedthatformistherational,theintelligible,elementintheobjectsand
eventsoftheworld.Thenitwassetoveragainstmatter,thelatterbeingthe
irrational,theinherentlychaoticandfluctuating,stuffuponwhichformwas
impressed.Itwasaseternalasthelatterwasshifting.Thismetaphysical
distinctionofmatterandformwasembodiedinthephilosophythatruled
Europeanthoughtforcenturies.Becauseofthisfactitstillaffectstheesthetic
philosophyofforminrelationtomatter.Itisthesourceofthebiasinfavorof
theirseparation,especiallywhenthattakestheshapeofassumingthatformhas
adignityandstabilitylackingtomatter.Indeed,wereitnotforthisbackgroundof
tradition,itmaybedoubtedwhetheritwouldoccurtoanyonethatthereisa
problemintheirrelation,soclearwoulditbethattheonlydistinctionimportantin
artisthatbetweenmatterinadequatelyformedandmaterialcompletelyand
coherentlyformed.
Objectsofindustrialartshaveformthatadaptedtotheirspecialuses.
Theseobjectstakeonestheticform,whethertheyarerugs,urns,orbaskets,
whenthematerialissoarrangedandadaptedthatitservesimmediatelythe
enrichmentoftheimmediateexperienceoftheonewhoseattentiveperceptionis
directedtoit.Nomaterialcanbeadaptedtoanend,beitthatofuseasspoonor

carpet,untilrawmaterialhasundergoneachangethatshapesthepartsandthat
arrangesthesepartswithreferencetooneanotherwithaviewtothepurposeof
thewhole.Hencetheobjecthasforminadefinitivesense.Whenthisformis
liberatedfromlimitationtoaspecializedendandservesalsothepurposesofan
immediateandvitalexperience,theformisestheticandnotmerelyuseful.
Itissignificantthattheworddesignhasadoublemeaning.Itsignifies
purposeanditsignifiesarrangement,modeofcomposition.Thedesignofa
houseistheplanuponwhichit

SUBSTANCEANDFORM117

isconstructedtoservethepurposesofthosewholiveinit.Thedesignofa
paintingornovelisthearrangementofitselementsbymeansofwhichit
becomesanexpressiveunityindirectperception.Inbothcases,thereisan
orderedrelationofmanyconstituentelements.Thecharacteristicofartistic
designistheintimacyofthe>relationsthatholdthepartstogether.Inahouse
wehaverooms
and
theirarrangementwithrespecttooneanother.Inthework
ofart,therelationscannotbetoldapartfrom
what
theyrelateexceptinlater
reflection.Aworkofartispoorinthedegreeinwhichtheyexistinseparation,as
inanovelwhereinplotthedesignisfelttobesuperimposeduponincidents
andcharactersinsteadofbeingtheirdynamicrelationstooneanother.To
understandthedesignofacomplicatedpieceofmachinerywehavetoknowthe
purposethemachineisintendedtoserve,andhowthevariouspartsfitintothe
accomplishmentofthatpurpose.Designis,asitwere,superimposedupon
materialsthatdonotactuallyshareinit,asprivatesengageinabattlewhilethey
haveonlyapassiveshareinthegeneralsdesignforthebattle.
Onlywhentheconstituentpartsofawholehavetheuniqueendof
contributingtotheconsummationofaconsciousexperience,dodesignand
shapelosesuperimposedcharacterandbecomeform.Theycannotdothisso
longastheyserveaspecializedpurposewhiletheycanservetheinclusive
purposeofhaving
an
experienceonlywhentheydonotstandoutbythemselves
butarefusedwithallotherpropertiesoftheworkofart.Indealingwiththe
significanceofforminpainting,Dr.Barneshasbroughtoutthenecessityforthis
completenessofblending,theinterpenetrationofshapeandpatternwithcolor,
space,andlight.Formis,ashesays,thesynthesisorfusionof
all
plastic

meanstheirharmoniousmerging.Ontheotherhand,patterninitslimited
sense,orplananddesign,ismerelytheskeletonuponwhichplasticunits...
areengrafted.*
Thisinterfusionofallpropertiesofthemediumisnecessaryiftheobjectin
questionistoservethewholecreatureinhisunifiedvitality.Itthereforedefines
thenatureofforminallthe

*TheArtinPainting,pp.85and87.ChapterIofBookIIshouldbe
consulted.Forminthesensedefinedis,asisshownthere.thecriterionof
value.

ARTASEXPERIENCE

arts.Withrespecttoaspecializedutility,wecancharacterizedesignas
beingrelatedtothisandthatend.Onechairhasadesignfittedtogivecomfort
another,tohygieneathird,toregalsplendor.Onlywhenallmeansarediffused
throughoneanotherdoesthewholesuffusethepartssoastoconstitutean
experiencethatisunifiedthroughinclusioninsteadofbyexclusion.Thisfact
confirmsthepositionofthepreviouschapterasregardstheunionofqualitiesof
directsensuousvividnesswithotherexpressivequalities.Aslongasmeaning
isamatterofassociationandsuggestion,itfallsapartfromthequalitiesofthe
sensuousmediumandformisdisturbed.Sensequalitiesarethecarriersof
meanings,notasvehiclescarrygoodsbutasamothercarriesababywhenthe
babyispartofherownorganism.Worksofart,likewords,areliterallypregnant
withmeaning.Meanings,havingtheirsourceinpastexperience,aremeansby
whichtheparticularorganizationthatmarksagivenpictureiseffected.Theyare
notaddedonbyassociationbutareeither,andequally,thesoulofwhichcolors
arethebodyorthebodyofwhichcolorsarethesoulaccordingaswehappen
tobeconcernedwiththepicture.
Dr.Barneshaspointedoutthatnotonlyareintellectualmeaningscarried
overfrompastexperiencestoaddexpressiveness,butsoarequalitiesthatadd
emotionalexcitation,whethertheexcitationbeofserenityorpoignancy.There
are,ashesays,inourmindsinsolutionavastnumberofemotionalattitudes,
feelingsreadytobereexcitedwhentheproperstimulusarrives,andmorethan
anythingelseitistheseforms,thisresidueofexperience,which,fullerandricher
thaninthemindoftheordinaryman,constitutetheartistscapital.Whatiscalled
themagicoftheartistresidesinhisabilitytotransferthesevaluesfromonefield

ofexperiencetoanother,toattachthemtotheobjectsofourcommonlife,andby
hisimaginativeinsightmaketheseobjectspoignantandmomentous.*Not
colors,notsensequalitiesassuch,areeithermatterorform,butthesequalities
as
*SeethechapteronTransferredValues,inthevolumeonTheArtofHenri
Matissethequotationisfromp.31Inthechapter,Dr.Barnesshowshowmuch
oftheimmediateemotionaleffectofthepicturesofMatisseisunconsciously
transferredfromemotionalvaluesfirstconnectedwithtapestry,posters,rosettes
(includingflowerpatterns),tiles,stripesandbandsasofbannersandmanyother
objects.

SUBSTANCEANDFORM119

thoroughlyimbued,impregnated,withtransferredvalue.Andthentheyare
eithermatterorformaccordingtothedirectionofourinterest.
Whilesometheoristsmakeadistinctionbetweensensuousandborrowed
valuebecauseofthemetaphysicaldualismjustmentioned,othersmakeitfrom
fearlesttheworkofartbeundulyintellectualized.Theyareconcernedto
emphasizesomethingwhichisinfactanestheticnecessity:theimmediacyof
estheticexperience.Itcannotbeassertedtoostronglythatwhatisnot
immediateisnotesthetic.Themistakeliesinsupposingthatonlycertain
special
thingsthoseattachedjusttoeye,ear,etccanbequalitativelyand
immediatelyexperienced.Wereittruethatonlyqualitiescomingtousthrough
senseorgansin
isolation
aredirectlyexperienced,then,ofcourse,allrelational
materialwouldbesuperaddedbyanassociation,thatisextraneousor,
accordingtosometheorists,byasyntheticactionofthought.Fromthispointof
viewthestrictly
esthetic
valueofsayapaintingconsistssimplyofcertain
relationsandordersofrelationthatcolors
sustaintooneanother
apartfrom
relationtoobjects.Theexpressivenesstheygainbybeingpresentascolorsof
water,rocks,clouds,etc.,isduetoart.Onthisbasis,thereisalwaysagap
betweentheestheticandtheartistic.Theyareoftworadicallydifferentkinds.
Thepsychologyunderlyingthisbifurcationwasexplodedinadvanceby
WilliamJameswhenhepointedoutthattherearedirectfeelingsofsuchrelations
asif,then,and,but,from,with.Forheshowedthatthereisnorelation
socomprehensivethatitmaynotbecomeamatterofimmediateexperience.
Everyworkofartthateverexistedhadindeedalreadycontradictedthetheoryin
question.Itisquitetruethatcertainthings,namelyideas,exerciseamediating

function.Butonlyatwistedandabortedlogiccanholdthatbecausesomething
ismediated,itcannot,therefore,beimmediatelyexperienced.Thereverseisthe
case.Wecannotgraspanyidea,anyorganofmediation,wecannotpossessit
initsfullforce,untilwehavefeltandsensedit,asmuchsoasifitwereanodor
oracolor.
Thosewhoareespeciallyaddictedtothinkingasanoccupation,areaware
whentheyobservetheprocessesofthought,insteadofdeterminingbydialectic
whattheymustbe,thatim

120ARTASEXPERIENCE

mediatefeelingisnotlimitedinitsscope.Differentideashavetheirdifferent
feels,theirimmediatequalitativeaspectsjustasmuchasanythingelse.One
whoisthinkinghiswaythroughacomplicatedproblemfindsdirectiononhisway
bymeansofthispropertyofideas.Theirqualitiesstophimwhenheentersthe
wrongpathandsendhimaheadwhenhehitstherightone.Theyaresignsofan
intellectualStopandGo.Ifathinkerhadtoworkoutthemeaningofeachidea
discursively,hewouldbelostinalabyrinththathadnoendandnocenter.
Wheneveranidealosesitsimmediatefeltquality,itceasestobeanideaand
becomes,likeanalgebraicsymbol,amerestimulustoexecuteanoperation
withouttheneedofthinking.Forthisreasoncertaintrainsofideasleadingto
theirappropriateconsummation(orconclusion)arebeautifulorelegant.They
haveestheticcharacter.Inreflectionitisoftennecessarytomakeadistinction
betweenmattersofsenseandmattersofthought.Butthedistinctiondoesnot
existinallmodesofexperience.Whenthereisgenuineartistryinscientific
inquiryandphilosophicspeculation,athinkerproceedsneitherbyrulenoryet
blindly,butbymeansofmeaningsthatexistimmediatelyasfeelingshaving
qualitativecolor.*
Qualitiesofsense,thoseoftouchandtasteaswellasofsightandhearing,
haveestheticquality.Buttheyhaveit
not
inisolationbutintheirconnectionsas
interacting,notassimpleandseparateentities.Norareconnectionslimitedto
theirownkind,colorswithcolors,soundswithsounds.Eventheutmostinthe
wayofscientificcontrolneversucceedsingettingeitherapurecolororapure
spectrumofcolors.Arayoflightproducedunderscientificcontroldoesnotend
sharplyandwithuniformity.Ithasvagueedgesandsointernalcomplexity.

More.over,itisprojectedonabackgroundandonlythusdoesitenter
perception.Andthebackgroundisnotmerelyoneofotherhuesandshades.It
hasitsownqualities.Noshadowcastbyeventhethinnestlineisever
homogeneous.Itisimpossibletoisolateacolorfromlightsothatnorefraction
occurs.Evenunderthemostuniformlaboratoryconditions,asimplecolorwill
becomplex

*Inconnectionwiththismatter,whichbearsnotonlyonthisparticulartopic,
butonallquestionsconnectedwiththeintelligencethatischaracteristicofany
artist,IrefertotheessayonQualitativeThought,containedinthevolume
PhilosophyandCivilization.

SUBSTANCEANDFORM121

totheextentofhavingabluishedge.Andthecolorsusedinpaintingsarenot
purespectralcolorsbutarepigments,notprojectedonthevoidbutappliedona
canvas.
Theseelementaryobservations,aremadewithreferencetoattemptstocarry
overallegedscientificfindingsaboutsensematerialintoesthetics.Theyshow
thatevenonsocalledscientificgroundtherearenoexperiencesofpureor
simplequalities,norofqualitieslimitedtotherangeofasinglesense.Butin
anycasethereisanunbridgeablegapbetweenscienceinthelaboratoryandthe
workofart.Inapainting,colorsarepresentedasthoseofsky,cloud,river,rock,
turf,jewel,silk,andsoon.Eventheeyethatisartificiallytrainedtoseecoloras
color,apartfromthingsthatcolorsqualify,cannotshutouttheresonancesand
transfersofvalueduetotheseobjects.Ofcolorqualitiesitispeculiarlytruethat
theyareinperceptionwhattheyareinrelationsofcontrastandharmonywith
otherqualities.Thosewhomeasureapicturebyitslineardraughtsmanshiphave
attackedcoloristsonthisveryground,pointingoutthatincontrastwiththestable
constancyofline,colorisnevertwicealike,varyingwitheverychangeoflight
andotherconditions.
Incontrastwiththeattempttocarryovermisplacedabstractionsofanatomy
andpsychologyintoesthetictheory,wemaywelllistentopainters.Forexample,
Czannesays:Designandcolorarenotdistinct.Inthedegreeinwhichcoloris
really
painted,
designexists.Themorecolorsharmonizewithoneanother,the
moredefinedisdesign.Whencolorisatitsrichest,formismostcomplete.The
secretofdesign,ofeverythingmarkedbypattern,iscontrastandrelationof
tones.Hequoteswithapprovalthesayingofanotherpainter,Delacroix:Give

methemudofthestreetsandifyouwillleavemealsowithpowertosurroundit
tomytasteIwillmakeofitawomansfleshofdelicioustint.Theoppositionof
qualityasimmediateandsensuoustorelationaspurelymediateandintellectual
isfalseingeneraltheory,psychologicalandphilosophical.Infineartitisabsurd,
sincetheforceofanartproductdependsuponcompleteinterpenetrationofthe
two.
Theactionofanyonesenseincludesattitudesanddispositionsthataredue
tothewholeorganism.Theenergiesbelongingtothesenseorgansthemselves
entercausallyintotheperceived

122ARTASEXPERIENCE

thing.Whensomepaintersintroducedthepointillisttechnique,relyingupon
thecapacityofthevisualapparatustofusedotsofcolorphysicallyseparateon
thecanvas,theyexemplifiedbuttheydidnotoriginateanorganicactivitythat
transformsphysicalexistenceintoaperceivedobject.Butthissortof
modificationiselementary.Itisnotjustthevisualapparatusbutthewhole
organismthatinteractswiththeenvironmentinallbutroutineaction.Theeye,
ear,orwhatever,isonlythechannel
through
whichthetotalresponsetakes
place.Acolorasseenisalwaysqualifiedbyimplicitreactionsofmanyorgans,
thoseofthesympatheticsystemaswellasoftouch.Itisafunnelforthetotal
energyputforth,notitswellspring.Colorsaresumptuousandrichjustbecause
atotalorganicresonanceisdeeplyimplicatedinthem.
Evenmoreimportantisthefactthattheorganismwhichrespondsin
productionoftheexperiencedobjectisonewhosetendenciesofobservation,
desireandemotion,areshapedbypriorexperiences.Itcarriespastexperiences
initselfnotbyconsciousmemorybutbydirectcharge.Thisfactaccountsforthe
existenceofsomedegreeofexpressivenessintheobjectofeveryconscious
experience.Thatfacthasalreadybeenbroughtout.Whatispertinenttothe
topicofestheticsubstanceturnsuponthe
wayin
whichthematerialofpast
experience,whichloadspresentattitudes,operatesinconnectionwithmaterial
providedbymeansofthesenses.Insheerrecollection,forexample,itis
essentialtokeepthetwoapartotherwiserememberingisdistorted.Inpurely
acquiredautomaticaction,pastmaterialissubordinatedtotheextentofnot
appearingatallinconsciousness.Inothercases,materialofthepastcomesto
consciousnessbutisconsciouslyemployedasaninstrumenttodealwithsome

presentproblemanddifficulty.Itiskeptdownsoastoservesomespecialend.
Iftheexperienceispredominatinglyoneofinvestigation,ithasthestatusof
offeringevidenceorofsuggestinghypothesesifpractical,offurnishingcuesto
presentaction.
Inestheticexperience,onthecontrary,thematerialofthepastneitherfills
attention,asinrecollection,norissubordinatedtoaspecialpurpose.Thereis,
indeed,arestrictionimposeduponwhatcomes.Butitisthatofcontributionto
theimmediatematterofanexperiencenowhad.Thematerialisnotemployed

SUBSTANCEANDFORM123

asabridgetosomefurtherexperience,butasanincreaseand
individualizationof
present
experience.Thescopeofaworkofartismeasured
bythenumberandvarietyofelementscomingfrompastexperiencesthatare
organicallyabsorbedintotheperceptionhadhereandnow.Theygiveititsbody
anditssuggestiveness.Theyoftencomefromsourcestooobscuretobe
identifiedinanyconsciousmemorialway,andthustheycreatetheauraand
penumbrainwhichaworkofartswims.
Weseeapainting
through
theeyes,andhearmusic
through
theears.Upon
reflection,wearethenonlytoomuchgiventosupposingthatintheexperience
itselfvisualorauditoryqualitiesassuch,arecentralifnotexclusive.This
carryingintotheprimaryexperienceaspartofitsimmediatenaturewhatever
subsequentanalysisfindsinit,isafallacyonewhichJamescalled
the
psychologicalfallacy.Inseeingapicture,itisnottruethatvisualqualitiesareas
such,orconsciously.,central,andotherqualitiesarrangedabouttheminan
accessoryorassociatedfashion.Nothingcouldbefurtherfromthetruth.Itisno
moretrueofseeingapicturethanitisofreadingapoemoratreatiseon
philosophy,inwhichwearenotawareinanydistinctwayofthevisualformsof
lettersandwords.Thesearestimulitowhichwerespondwithemotional,
imaginative,andintellectualvaluesdrawnfromourselves,whichthenare
orderedbyinteractionwiththosepresentedthroughthemediumofwords.The
colorsseeninapicturearereferredtoobjects,
not
totheeye.Forthisreason
alonearetheyemotionallyqualified,uptothepointsometimesofhypnoticforce,
andaresignificantorexpressive.Theorganthatinvestigation,usinganatomical
andphysiologicalloretohelpitout,showstobecausallyprimaryinconditioning

theexperience,mayintheexperienceitselfbeasunobtrusiveasarethebrain
tractsthatareinvolvedjustasmuchastheeyeis,butwhichonlythetrained
neurologistknowsanythingaboutandwhichevenheisnotawareofwhenhe
isabsorbedinseeingsomething.Whenweperceive,bymeansoftheeyesas
causalaids,theliquidityofwater,thecoldnessofice,thesolidityofrocks,the
barenessoftreesinwinter,itiscertainthatotherqualitiesthanthoseoftheeye
areconspicuousandcontrollinginperception.Anditisascertainasanything
canbethatoptical

124ARTASEXPERIENCE

qualitiesdonotstandoutbythemselveswithtactualandemotivequalities
clingingtotheirskirts.
Thepointjustmadeisnotoneofremotetechnicaltheory.Itbearsdirectly
uponourmainproblem,therelationofsubstanceandform.Thisbearinghas
manyaspects.Oneofthemistheinherenttendencyofsensetoexpand,to
comeintointimaterelationswithotherthingsthanitself,andthustotakeonform
becauseofitsownmovement......insteadofpassivelywaitingtohaveform
imposedonit.Anysensuousqualitytends,becauseofitsorganicconnections,
tospreadandfuse.Whenasensequalityremainsontherelativelyisolated
planeonwhichitfirstemerges,itdoessobecauseofsomespecialreaction,
becauseitiscultivatedforspecialreasons.Itceasestobesensuousand
becomessensual.Thisisolationofsenseisnotcharacteristicofestheticobjects,
butofsuchthingsasnarcotics,sexualorgasms,andgamblingindulgedinforthe
sakeoftheimmediateexcitementofsensation.Innormalexperience,asensory
qualityisrelatedtootherqualitiesinsuchwaysastodefineanobject.The
organofreception,whichisfocal,addsenergyandfreshnesstomeanings
otherwisemerelyreminiscent,stale,orabstract.Nopoetismoredirectly
sensuousthanKeats.Butnoonehaswrittenpoetryinwhichsensuousqualities
aremoreintimatelypervadedbyobjectiveeventsandscenes.Miltonwas
seeminglyinspiredbywhattomostpersonstodayisadryandrepellent
theology.ButhewassufficientlyintheShakespeareantraditionsothathis
substanceisthatofdirectdramacomposedonamajesticscale.Ifweheara
richandhauntingvoice,wefeelitimmediatelyasthevoice
of
acertainkindof
personality.Ifwediscoverlaterthatthepersonis,infact,ofameagerandthin

nature,wefeelasifwehadbeencheated.Sowearealwaysesthetically
disappointedwhenthesensuousqualitiesandtheintellectualpropertiesofan
objectofartdonotcoalesce.
Themootproblemoftherelationofthedecorativeandtheexpressiveis
solvedwhenitisviewedinthecontextoftheintegrationofmatterandform.The
expressiveinclinestotheaideofmeaning,thedecorativetothatofsense.There
isahungeroftheeyesforlightandcolorthereisdistinctivesatisfactionwhen
thishungerisfed.Wallpaper,rugs,tapestries,themarvelousplayofchanging
tintsinskyandflowers,fulfilltheneed.

SUBSTANCEANDFORM125

Arabesques,gaycolors,havealikeofficeinpaintings.Someofthecharmof
architecturalstructuresfortheyhavecharmaswellasdignityderivesfromthe
factthat,intheirexquisiteadaptationsoflinesandspaces,theymeetasimilar
organicneedofthesensorimotorsystem.
Yetinallthis,thereisnoisolatedoperationofparticularsenses.The
conclusiontobedrawnisthatthedistinctivelydecorativequalityisdueto
unusualenergyofasensorytractthatlendsvividnessandappealtotheother
activitieswithwhichitisassociated.Hudsonwasapersonofextraordinary
sensitivenesstothesensuoussurfaceoftheworld.Speakingofhischildhood
whenhewas,ashesays,justalittlewildanimalrunningaroundonitshindlegs,
amazinglyinterestedintheworldinwhichitfounditself,hegoesontosay:I
rejoicedincolors,scents,intasteandtouch:theblueofthesky,theverdureof
earth,thesparkleoflightonwater,thetasteofmilk,offruit,ofhoney,thesmell
ofdryormoistsoil,ofwindandrain,ofherbsandflowersthemerefeelofa
bladeofgrassmademehappyandtherewerecertainsoundsandperfumes,
andaboveallcertaincolorsinflowers,andintheplumageandeggsofbirds,
suchasthepurplepolishedshellofthetinamousegg,whichintoxicatedmewith
delight.WhenridingontheplainIdiscoveredapatchofscarletverbenasinfull
bloom,thecreepingplantscoveringanareaofseveralyards,withamoist
greenswardsprinkledabundantlywiththeshiningflowerbosses,Iwouldthrow
myselffromtheponywithacryofjoytolieontheturfamongthemandfeastmy
sightontheirbrilliantcolor.
Noonecancomplainofalackofrecognitionofimmediatesensuouseffectin
suchanexperience.Itisthemorenoteworthybecausenotaffectingthat

superiorattitudetowardqualitiesofsmell,taste,andtouchadoptedbysome
writerssinceKant.Butitwillbenotedthatcolors,scents,tasteandtouchare
notisolated.Theenjoymentisofthecolor,feel,andscentof
objects:
bladesof
grass,sky,sunlightandwater,birds.Thesight,smell,andtouchimmediately
appealedtoaremeansthroughwhichtheboysentirebeingreveledinacute
perceptionofthequalitiesoftheworldinwhichhelivedqualitiesofthings
experiencednotofsensation.Theactiveagencyofaparticularsenseorganis
involvedintheproductionofthequality,buttheorganisnotfox

126ARTASEXPERIENCE

thisreasonthefocusoftheconsciousexperience.Theconnectionof
qualitieswithobjectsisintrinsicinallexperiencehavingsignificance.Eliminate
thisconnectionandnothingremainsbutasenselessandunidentifiable
successionoftransitorythrills.Whenwehavepuresensationalexperiences
theycometousinmomentsofabruptandcoercedattentiontheyareshocks,
andevenshocksservenormallytoincitecuriositytoinquireintothenatureofthe
situationthathassuddenlyinterruptedourpreviousoccupation.Ifthecondition
persistsunchangedwithoutabilitytosinkwhatisfeltintoapropertyoftheobject,
theresultissheerexasperationathingfarremovedfromestheticenjoyment.
Tomakethepathologyofsensationthebasisofestheticenjoymentisnota
promisingundertaking.
Translatetheenjoymentoftheverbenacreepingoverthegrass,sunlight
sparklingonwater,theshiningpolishofthebirdsegg,intoexperiencesofthe
livecreature,andwhatwefindistheveryoppositeofasinglesensefunctioning
alone,orofanumberofsensesmerelyaddingtheirseparatequalitiestogether.
Thelatterarecoordinatedintoawholeofvitalitybytheircommonrelationsto
objects.Itistheobjectsthatliveanimpassionedlife.Art,likethatofHudson
himselfinrecreatingtheexperienceofchildhood,butcarriesfurther,through
selectionandconcentration,thereferencetoanobject,toorganizationandorder
beyondmeresense,implicitintheexperienceofthechild.Thenative
experienceinitscontinuousandcumulativecharacter(propertiesthatexist
becausesensationsareof
objects
orderedinacommonworldandarenot
meretransientexcitations),thusaffordsaframeofreferencefortheworkofart.
Ifthetheorythatprimaryestheticexperienceisofisolatedsensequalitieswere

correct,itwouldbeimpossibleforarttosuperimposeconnectionandorderupon
them.
Thesituationjustdescribedgivesthekeytounderstandingtherelationina
workofartbetweendecorativeandexpressive.Wereenjoymentsimplyof
qualitiesbythemselves,thedecorativeandtheexpressivewouldhaveno
connectionwitheachother,onecomingfromimmediatesenseexperienceand
theotherfromrelationsandmeaningsintroducedbyart.Sincesenseitself
blendswithrelations,thedifferencebetweenthedecorativeandtheexpressiveis
oneofemphasis.
Joiede
vivretheabandon

SUBSTANCEANDFORM127

thattakesnothoughtforthemorrow,thesumptuousnessoffabrics,the
gayetyofflowers,thematuredrichnessoffruitsis
expressed
throughthe
decorativequalitythatspringsdirectlyoutofthefullplayofsensuousqualities.If
therangeofexpressionintheartsistobecomprehensive,thereareobjectswith
valuesthatmustberendereddecorativelyandothersthatmustberendered
withoutit.AgayPierrotatafuneralwouldclashwiththeothers.Whenacourt
foolisintroducedinapictureoftheobsequiesofhislord,hissemblancemustat
leastfittherequirementsofthecontext.Anexcessofdecorativequalityina
particularsettinghasanexpressivenessofitsownasGoyacarriesits
exaggerationinsomeportraitsofthecourtfolkofhisdaytoapointwheretheir
pomposityismaderidiculous.Todemandthatallartbedecorativeisasmucha
limitationofthematerialofartinitsexclusionofexpressionofthesomberasisa
Puritanicdemandthatallartbegrave.
Thespecialbearingoftheexpressivenessofdecorationontheproblemof
substanceandformisthatitprovesthewrongnessofthetheoriesthatisolate
sensequalities.Forinthedegreeinwhichdecorativeeffectisachievedby
isolation,itbecomesemptyembellishment,factitiousornamentationlikesugar
figuresonacakeandexternalbedecking.Thereisnoneedformetogooutof
mywaytocondemntheinsincerityofusingadornmenttoconcealweaknessand
coverupstructuraldefects.Butitisnecessarytonotethatuponthebasisof
esthetictheorieswhichseparatesenseandmeaning,thereisnoartisticground
forsuchcondemnation.Insincerityinarthasanestheticnotjustamoralsource
itisfoundwhereversubstanceandformfallapart.Thisstatementdoesnot
signifythatallstructurallynecessaryelementsshouldbeevidenttoperception,

assomeextremefunctionalistsinarchitecturehaveinsistedtheyshouldbe.
Suchacontentionconfusesaratherbaldconceptionofmoralswithart.*For,in
architectureasinpaintingandpoetry,rawmaterialsarereorderedthrough
interactionwiththeselftomakeexperiencedelightful.
Flowersinaroomaddtoitsexpressiveness,whentheyharmonizewithits
furnishingandusewithoutaddinganoteof

*GeoffreyScottinhisArchitectureofHumanismhaswellexposedand
explainedthisfallacy.

128ARTASEXPERIENCE

insincerityeventhoughtheycoverupsomethingstructurallynecessary.
Thetruthofthematteristhatwhatisforminoneconnectionismatterin
anotherandviceversa.Colorthatismatterwithrespecttoexpressivenessof
somequalitiesandvaluesisformwhenitisusedtoconveydelicacy,brilliance,
gayety.Andthisstatementdoesnotsignifythatsomecolorshaveonefunction
andothercolorsanotherfunction.Take,forexample,Velasquezspaintingofthe
childMariaTheresa,theonewithavaseofflowersatherright.Itsgraceand
delicacyisunsurpassablethedelicacypervadeseveryaspectandpartdress,
jewels,face,hair,hands,flowersbutexactlythesamecolorsexpressnotonly
thestuffoffabrics,butasalwayswithVelasquezwhenhesucceeds,theinherent
dignityofahumanbeing,adignitythateveninaroyalpersonageissointrinsic
thatitisnotatrappingofroyalty.
Itdoesnotfollow,ofcourse,thatallworksofart,eventhoseofthehighest
quality,mustpossesssuchacompleteinterpenetrationofthedecorativeandthe
expressiveasisoftenexhibitedinTitian,VelasquezandRenoir.Artistsmaybe
greatinonedirectionortheother,andstillbegreat.Frenchpainting,almost
fromitsbeginning,hasbeenmarkedbyalivelysenseofthedecorative.Lancret,
Fragonard,Watteaumaybedelicatetothepointattimesoffragility,butthey
almostneverexhibitthesplitbetweenexpressivenessandextraneous
ornamentationthatalmostalwaysmarksBoucher.Theyprefer
subjects
that
requiredelicacyandintimatesubtletytorenderthemfullyexpressive.Renoir
hasmoreofthesubstanceofcommonlifeinhispaintingsthanthey.Butheuses
everyplasticmeanscolor,light,line,andplanes,inthemselvesandintheir
interrelationstoconveyasenseofaboundingjoyinintercoursewithcommon

things.Friendswhoknewthemodelsheused,sometimescomplained,
accordingtoreport,thathemadethemmuchmorebeautifulthantheyreally
were.Butnoonewholooksatthepaintingsgetsanysenseoftheirbeingfixed
uporprettified.WhatisexpressedistheexperienceRenoirhimselfhadofthe
joyofperceivingtheworld.Matisseisunrivaledamongthedecorativecolorists
ofthepresent.Atfirsthemaygivetothebeholderashockbecauseof
juxtapositionofcolorsthatinthemselvesaregarishandbecauseatfirstphysical
blanksseemtobeanesthetic.Butwhenonehaslearned

SUBSTANCEANDFORM129

tosee,onefindsamarvelousrenderingofaqualitythatischaracteristically
Frenchclearness,
clart.
Iftheattempttoexpressitdoesnotsucceedand,of
course,itdoesnotalwaysthenthedecorativequalitystandsoutbyitselfandis
oppressiveliketoomuchsugar.
Hence,oneimportantfacultyinlearningtoperceiveaworkofartafaculty
thatmanycriticsdonotpossessispowertograspthephasesofobjectsthat
speciallyinterestaparticularartist.Stilllifepaintingwouldbeasemptyasis
mostgenrepaintingifitdidnot,underthehandofamaster,becomeexpressive
throughitsverydecorativequalityofsignificantstructuralfactors,asChardin
rendersvolumeandspacialpositionsinwaysthatcaresstheeyewhileCzanne
achievesmonumentalqualitywithfruits,justas,ontheoppositeside,Guardi
suffusesthemonumentalinbuildingswithadecorativeglow.
Asobjectsaretransportedfromoneculturemediumtoanother,decorative
qualitytakesonanewvalue.RugsandbowlsoftheOrienthavepatternswhose
originalvaluewasusuallyreligiousorpoliticalastribalemblemsexpressedin
decorativesemigeometricalfigures.Thewesternobserverdoesnotgetthe
formeranymorethanhegraspsthereligiousexpressivenessinChinese
paintingsoforiginalBuddhistandTaoistconnections.Theplasticelements
remainandsometimesgiveafalsesenseoftheseparationofdecorativefrom
expressive.Localelementswereakindofmediumbywhichentrancefeewas
paid.Theintrinsicvalueremainsafterlocalelementshavebeenstrippedaway.
Beauty,conventionallyassumedtobetheespecialthemeofesthetics,has
hardlybeenmentionedinwhatprecedes.Itisproperlyanemotionalterm,
thoughonedenotingacharacteristicemotion.Inthepresenceofalandscape,a

poemorapicturethatlaysholdofuswithimmediatepoignancy,wearemoved
tomurmurortoexclaimHowbeautiful.Theejaculationisajusttributetothe
capacityoftheobjecttoarouseadmirationthatapproachesworship.Beautyis
atthefurthestremovefromananalyticterm,andhencefromaconceptionthat
canfigureintheoryasameansofexplanationorclassification.Unfortunately,it
hasbeenhardenedintoapeculiarobjectemotionalrapturehasbeensubjected
towhatphilosophycallshypostatization,and

130ARTASEXPERIENCE

theconceptofbeautyasanessenceofintuitionhasresulted.Forpurposes
oftheory,itthenbecomesanobstructiveterm.Incasethetermisusedintheory
todesignatethetotalestheticqualityofanexperience,itissurelybettertodeal
withtheexperienceitselfandshowwhenceandhowthequalityproceeds.In
thatcase,beautyistheresponsetothatwhichtoreflectionistheconsummated
movementofmatterintegratedthroughitsinnerrelationsintoasinglequalitative
whole.
Thereisanotherandmorelimiteduseoftheterminwhichbeautyissetoff
againstothermodesofestheticqualityagainstthesublime,thecomic,
grotesque.Judgingfromresults,thedistinctionisnotahappyone.Ittendsto
involvethosewhoengageinitindialecticalmanipulationofconceptsanda
compartmentalpigeonholingthatobstructsratherthanaidsdirectperception.
Insteadoffavoringsurrendertotheobject,readymadedivisionsleadoneto
approachanestheticobjectwithanintenttocompareandthustorestrictthe
experiencetoapartialgraspoftheunifiedwhole.Anexaminationofthecasesin
whichthewordiscommonlyused,apartfromitsimmediateemotionalsense
mentionedabove,revealsthatonesignificanceofthetermisthestriking
presenceofdecorativequality,ofimmediatecharmforsense.Theother
meaningindicatesthemarkedpresenceofrelationsoffitnessandreciprocal
adaptationamongthemembersofthewhole,whetheritbeobject,situation,or
deed.
Demonstrationsinmathematics,operationsinsurgery,arethussaidtobe
beautifulevenacaseofdiseasemaybesotypicalinitsexhibitionof
characteristicrelationsastobecalledbeautiful.Bothmeanings,thatof

sensuouscharmandofmanifestationofaharmoniousproportionofparts,mark
thehumanforminitsbestexemplars.Theeffortsthathavebeenmadeby
theoriststoreduceonemeaningtotheotherillustratethefutilityofapproaching
thesubjectmatterthroughfixedconcepts.Thefactsthrowlightuponthe
immediatefusionofformandmatter,andupontherelativityofwhatistakenas
formorassubstanceinaparticularcasetothepurposeanimatingreflective
analysis.
Thesumofthewholediscussionisthattheorieswhichseparatematterand
form,theoriesthatstrivetofindaspeciallocusinexperienceforeach,are,in
spiteoftheiroppositionstooneanother,casesofthesamefundamentalfallacy.
Theyrest

SUBSTANCEANDFORM131

uponseparationofthelivecreaturefromtheenvironmentinwhichitlives.
Oneschool,onewhichbecomestheidealisticschoolinphilosophywhenits
implicationsareformulated,makestheseparationintheinterestofmeaningsor
relations.Theotherschool,thesensationalempiricist,makestheseparationin
behalfoftheprimacyofsensequalities.Estheticexperiencehasnotbeen
trustedtogenerateitsownconceptsforinterpretationofart.Thesehavebeen
superimposedthroughbeingcarriedover,readymade,fromsystemsofthought
framedwithoutreferencetoart.
Nowherehastheresultbeenmoredisastrousthanwithrespecttothe
problemofmatterandform.Itwouldhavebeeneasytofillthepagesofthis
chapterwithquotationsfromwritersonestheticsassertinganoriginaldualismof
matterandform.Ishallquoteonlyoneinstance:WecallthefaadeofaGreek
templebeautifulwithspecialreferencetoitsadmirableformwhereas,in
predicatingbeautyofaNormancastle,wereferrathertowhatthecastle
meanstotheeffectofimaginationofitspastproudstrengthandslow
vanquishmentbytheunrelentingstrokesoftime.
Thisparticularwriterrefersformdirectlytosense,andmatterorsubstance
toassociatedmeaning.Itwouldbejustaseasytoreversetheprocess.Ruins
arepicturesquethatis,theirimmediatepatternandcolorwithovergrowingivy,
makeadecorativeappealtosensewhile,itmightbeargued,theeffectofthe
Greekfaadeisduetoaperceptionofrelationsofproportion,etc.,whichinvolve
rationalratherthansensuousconsiderations.Indeed,atfirstview,itseemsmore
naturaltoascribemattertosenseandformtomediatingthoughtthanviceversa.
Thefactisthatdistinctionsinbothdirectionsareequallyarbitrary.Whatisform

inonecontextismatterinanotherandviceversa.Moreover,theychange
placesinthesameworkofartwithashiftinourinterestandattention.Takethe
followingstanzasofLucy
Gray:

Yetsomemaintainthattothisday
Sheisalivingchild
ThatyoumayseesweetLucyGray
Uponthelonesomewild.

132ARTASEXPERIENCE

Oerroughandsmoothshetripsalong
Andneverlooksbehind
Andsingsasolitarysong
Thatwhistlesinthewind.

Didanybodywhofeltthepoemestheticallymakeatthesametimea
consciousdistinctionofsenseandthought,ofmatterandform?Ifso,theydidnot
readorhearesthetically,fortheestheticvalueofthestanzasliesinthe
integrationofthetwo.Nevertheless,afteranabsorbedenjoymentofthepoem,
onemayreflectandanalyze.Onemayconsiderhowthechoiceofwords,the
meterandrhyme,themovementofthephrases,contributetotheestheticeffect.
Notonlythis,butsuchananalysis,performedwithreferencetoamoredefinite
apprehensionofform,mayenrichfurtherdirectexperience.Uponanother
occasion,thesesametraitstakeninconnectionwiththedevelopmentof
Wordsworth,hisexperienceandtheories,maybetreatedasmatterratherthan
asform.Thentheepisode,thestoryofthechildfaithfuluntodeathservesasa
forminwhichWordsworthembodiedthematerialofhispersonalexperience.
Sincetheultimatecauseoftheunionofformandmatterinexperienceisthe
intimaterelationofundergoinganddoingininteractionofalivecreaturewithe
worldofnatureandman,thetheories,whichseparatematterandform,have
theirultimatesourceinneglectofthisrelation.Qualitiesarethentreatedas
impressionsmadebythings,andrelationsthatsupplymeaningaseither
associationsamongimpressions,orassomethingintroducedbythought.There
are
enemiesoftheunionofformandmatter.Buttheyproceedfromourown

limitationstheyarenotintrinsic.Theyspringfromapathy,conceit,selfpity,
tepidity,fear,convention,routine,fromthefactorsthatobstruct,deflectand
preventvitalinteractionofthelifecreaturewiththeenvironmentinwhichhe
exists.Onlythebeingwhoisordinarilyapatheticfindsmerelytransient
excitementinaworkofartonlyonewhoisdepressed,unabletofacethe
situationsabouthim,goestoitmerelyformedicinalsolacethroughvalueshe
cannotfindinhisworld.Butartitselfismorethanastirofenergyinthe
doldrumsofthedispirited,oracalminthestormsofthetroubled.
Throughart,meaningsofobjectsthatareotherwisedumb,

SUBSTANCEANDFORM133

inchoate,restricted,andresistedareclarifiedandconcentrated,andnotby
thoughtworkinglaboriouslyuponthem,norbyescapeintoaworldofmere
sense,butbycreationofanewexperience.Sometimestheexpansionand
intensificationiseffectedbymeansof

.....
somephilosophicsong
OfTruththatcherishesourdailylife

sometimesitisbroughtaboutbyajourneytofarplaces,aventureto

casementsopeningonthefoam
Ofperilousseasinfairylandsforlorn.

Butwhateverpaththeworkofartpursues,it,justbecauseitisafulland
intenseexperience,keepsalivethepowertoexperiencethecommonworldinits
fullness.Itdoessobyreducingtherawmaterialsofthatexperiencetomatter
orderedthroughform.

CHAPTERVII
THENATURALHISTORYOFFORM

FORMassomethingthatorganizesmaterialintothematterofarthasbeen
consideredinthepreviouschapter.Thedefinitionthatwasgiventellswhatform
iswhenitisachieved,whenitisthereinaworkofart.Itdoesnottellhowit
comestobe,theconditionsofitsgeneration.Formwasdefinedintermsof
relationsandestheticformintermsofcompletenessofrelationswithinachosen
medium.Butrelationisanambiguousword.Inphilosophicdiscourseitisused
todesignateaconnectioninstitutedinthought.Itthensignifiessomething
indirect,somethingpurelyintellectual,evenlogical.Butrelationinitsidiomatic
usagedenotessomethingdirectandactive,somethingdynamicandenergetic.It
fixesattentionuponthewaythingsbearupononeanother,theirclashesand
unitings,thewaytheyfulfillandfrustrate,promoteandretard,exciteandinhibit
oneanother.
Intellectualrelationssubsistinpropositionstheystatetheconnectionof
termswithoneanother.Inart,asinnatureandinlife,relationsaremodesof
interaction.Theyarepushesandpullstheyarecontractionsandexpansions
theydeterminelightnessandweight,risingandfalling,harmonyanddiscord.The
relationsoffriendship,ofhusbandandwife,ofparentandchild,ofcitizenand
nation,likethoseofbodytobodyingravitationandchemicalaction,maybe
symbolizedbytermsorconceptionsandthenbestatedinpropositions.Butthey
exist
asactionsandreactionsinwhichthingsaremodified.Artexpressesitdoes
notstateitisconcernedwithexistencesintheirperceivedqualities,notwith
conceptionssymbolizedinterms.Asocialrelationisanaffairofaffectionsand

obligations,ofintercourse,ofgeneration,influenceandmutualmodification.Itis
inthissensethatrelationistobeunderstoodwhenusedtodefineforminart.
Mutualadaptationofpartstooneanotherinconstitutingawholeisthe
relationwhich,formallyspeaking,characterizes
134

THENATURALHISTORYOFFORM

135

aworkofart.Everymachine,everyutensil,has,withinlimits,asimilar
reciprocaladaptation.Ineachcase,anendisfulfilled.Thatwhichismerelya
utilitysatisfies,however,aparticularandlimitedend.Theworkofestheticart
satisfiesmanyends,noneofwhichislaiddowninadvance.Itservesliferather
thanprescribingadefinedandlimitedmodeofliving.Thisservicewouldbe
impossiblewerenotpartsboundtogetherintheestheticobjectindistinctive
ways.Howisitthateachpartisadynamicpart,thatis,
playsanactivepart,
in
constitutingthiskindofawhole?Thisisthequestionwhichconfrontsus.
InhisEnjoymentofPoetry,MaxEastmanusestheaptillustrationofaman
crossingtheriver,wewillsaycomingintoNewYorkCityonaferryboat,tobring
outthenatureofanestheticexperience.Somemenregarditassimplyajourney
togetthemwheretheywanttobeameanstobeendured.So,perhaps,they
readanewspaper.Onewhoisidlemayglanceatthisandthatbuilding
identifyingitastheMetropolitanTower,theChryslerBuilding,theEmpireState
Building,andsoon.Another,impatienttoarrive,maybeonthelookoutfor
landmarksbywhichtojudgeprogresstowardhisdestination.Stillanother,whois
takingthejourneyforthefirsttime,lookseagerlybutisbewilderedbythe
multiplicityofobjectsspreadouttoview.He
sees
neitherthewholenortheparts
heislikealaymanwhogoesintoanunfamiliarfactorywheremanymachinesare
plying.Anotherperson,interestedinrealestate,maysee,inlookingatthe
skyline,evidenceintheheightofbuildings,ofthevalueofland.Orhemaylethis
thoughtsroamtothecongestionofagreatindustrialandcommercialcenter.He
maygoontothinkoftheplanlessnessofarrangementasevidenceofthechaos
ofasocietyorganizedonthebasisofconflictratherthancooperation.Finallythe

sceneformedbythebuildingsmaybelookedatascoloredandlightedvolumes
inrelationtooneanother,totheskyandtotheriver.Heisnowseeing
esthetically,asapaintermightsee.
Nowthecharacteristicofthelastnamedvisionincontrastwiththeothers
mentionedisthatitisconcernedwitha
perceptual
whole,constitutedbyrelated
parts.Noonesinglefigure,aspect,orqualityispickedoutasameanstosome
furtherexternalresultwhichisdesired,norasasignofaninferencethatmay

136

ARTASEXPERIENCE

bedrawn.TheEmpireStateBuildingmaybe
recognized
byitself.Butwhenit
isseenpictoriallyitisseenasarelatedpartofaperceptuallyorganizedwhole.
Itsvalues,itsqualitiesasseen,aremodifiedbytheotherpartsofthewhole
scene,andinturnthesemodifythevalue,asperceived,ofeveryotherpartofthe
whole.Thereisnowformintheartisticsense.
Matissehasdescribedtheactualprocessofpaintinginthefollowingway:If,
onacleancanvas,Iputatintervalspatchesofblue,greenandred,withevery
touchthatIputon,eachofthosepreviouslylaidonlosesinimportance.SayI
havetopaintaninteriorIseebeforemeawardrobe.Itgivesmeavivid
sensationofredIputonthecanvastheparticularredthatsatisfiesme.A
relationisnowestablishedbetweenthisredandthepalenessofthecanvas.
WhenIputonbesidesagreen,andalsoayellowtorepresentthefloor,between
thisgreenandtheyellowandthecolorofthecanvastherewillbestillfurther
relations.Butthesedifferenttonesdiminishoneanother.Itisnecessarythatthe
differenttonesIusebebalancedinsuchawaythattheydonotdestroyone
another.Tosecurethat,Ihavetoputmyideasinordertherelationships
betweentonesmustbeinstitutedinsuchawaythattheyarebuiltupinsteadof
beingknockeddown.Anew
combination
ofcolorswillsucceedtothefirstone
andwillgivethewholenessofmyconception.
*
Nowthereisnothingdifferentinprinciplehere,fromwhatisdoneinthe
furnishingofaroom,whenthehouseholderseestoitthattables,chairs,rugs,
lamps,colorofwalls,andspacingofthepicturesonthemaresoselectedand
arrangedthattheydonotclashbutformanensemble.Otherwisethereis
confusionconfusion,thatis,
inperception.
Visioncannotthencompleteitself.It

isbrokenupintoasuccessionofdisconnectedacts,nowseeingthis,nowthat,
andnomeresuccessionisaseries.Whenmassesarebalanced,colors
harmonized,andlinesandplanesmeetandintersectfittingly,perceptionwillbe
serialinordertograspthewholeandeachsequentialactbuildsupand
reenforceswhatwentbefore.Evenatfirstglancethereisthesenseofqualitative
unity.Thereisform.

*FromNotesdunPeintre,publishedin
IQOS.
Inanotherconnectionone
mightdwellupontheimplicationsofthephraseconcerningthenecessityfor
puttingideasinorder.

THENATURALHISTORYOFFORM

137

Inaword,formisnotfoundexclusivelyinobjectslabeledworksofart.
Whereverperceptionhasnotbeenbluntedandperverted,thereisaninevitable
tendencytoarrangeeventsandobjectswithreferencetothedemandsof
completeandunifiedperception.Formisacharacterofeveryexperiencethatis
an
experience.Artinitsspecificsenseenactsmoredeliberatelyandfullythe
conditionsthateffectthisunity.
Formmaythenbedefinedastheoperationof
forcesthatcarrytheexperienceofanevent,object,scene,andsituationtoits
ownintegralfulfillment.
Theconnectionofformwithsubstanceisthusinherent,
notimposedfromwithout.Itmarksthematterofanexperiencethatiscarriedto
consummation.Ifthematterisofajollysort,theformthatwouldbefittingto
patheticmatterisimpossible.Ifexpressedinapoem,thenmeter,rateof
movement,wordschosen,thewholestructure,willbedifferent,andinapicture
sowillthewholeschemeofcolorandvolumerelationships.Incomedy,amanat
worklayingbrickswhiledressedineveningclothesisappropriatetheformfits
thematter.Thesamesubjectmatterwouldbringthemovementofanother
experiencetodisaster.
Theproblemofdiscoveringthenatureofformisthusidenticalwiththatof
discoveringthemeansbywhichareeffectedthecarryingforwardofan
experiencetofulfillment.Whenweknowthesemeans,weknowwhatformis.
Whileitistruethateverymatterhasitsownform,orisintimatelyindividual,yet
therearegeneralconditionsinvolvedintheorderlydevelopmentofany
subjectmattertoitscompletion,sinceonlywhentheseconditionsaremetdoesa
unifiedperceptiontakeplace.

Someoftheconditionsofformhavebeenmentionedinpassing.Therecan
benomovementtowardaconsummatingcloseunlessthereisaprogressive
massingofvalues,acumulativeeffect.Thisresultcannotexistwithout
conservationoftheimportofwhathasgonebefore.Moreover,tosecurethe
neededcontinuity,theaccumulatedexperiencemustbesuchastocreate
suspenseandanticipationofresolution.Accumulationisatthesametime
preparation,aswitheachphaseofthegrowthofalivingembryo.Onlythatis
carriedonwhichisleduptootherwisethereisarrestandabreak.Forthis
reasonconsummationisrelativeinsteadofoccurringonceforallatagiven
point,itisrecurrent.Thefinalendisanticipatedbyrhythmicpauses,

138

ARTASEXPERIENCE

whilethatendisfinalonlyinanexternalway.Forasweturnfromreadinga
poemornovelorseeingapicturetheeffectpressesforwardinfurther
experiences,evenifonlysubconsciously.
Suchcharacteristicsascontinuity,cumulation,conservation,tensionand
anticipationarethusformalconditionsofestheticform.Thefactorofresistanceis
worthespecialnoticeatthispoint.Withoutinternaltensiontherewouldbeafluid
rushtoastraightawaymarktherewouldbenothingthatcouldbecalled
developmentandfulfillment.Theexistenceofresistancedefinestheplaceof
intelligenceintheproductionofanobjectoffineart.Thedifficultiestobe
overcomeinbringingabouttheproperreciprocaladaptationofpartsconstitute
whatinintellectualworkareproblems.Asinactivitydealingwithpredominatingly
intellectualmatters,thematerialthatconstitutesa~problemhastobeconverted
intoameansforitssolution.Itcannotbesidestepped.Butinarttheresistance
encounteredentersintotheworkinamoreimmediatewaythaninscience.The
perceiveraswellasartisthastoperceive,meet,andovercomeproblems
otherwise,appreciationistransientandoverweightedwithsentiment.For,in
ordertoperceiveesthetically,hemustremakehispastexperiencessothatthey
canenterintegrallyintoanewpattern.Hecannotdismisshispastexperiences
norcanhedwellamongthemastheyhavebeeninthepast.
Arigidpredeterminationofanendproductwhetherbyartistorbeholderleads
totheturningoutofamechanicaloracademicproduct.Theprocessesbywhich
thefinalobjectandperceptionarereachedarenot,insuchcases,meansthat
moveforwardintheconstructionofaconsummatingexperience.Thelatteris
ratherofthenatureofastencil,eventhoughthecopyfromwhichthestencilis

madeexistsinmindandnotasaphysicalthing.Astatementthatanartistdoes
notcarehowhisworkeventuateswouldnotbeliterallytrue.Butitistruethathe
caresabouttheendresultasacompletionofwhatgoesbeforeandnotbecause
ofitsconformityorlackofconformitywithareadymadeantecedentscheme.He
iswillingtoleavetheoutcometotheadequacyofthemeansfromwhichitissues
andwhichitsumsup.Likethescientificinquirer,hepermitsthesubjectmatterof
hisperceptioninconnectionwiththeproblemsitpresentstodeter

THENATURALHISTORYOFFORM

139

minetheissue,insteadofinsistinguponitsagreementwithaconclusion
decideduponinadvance.
Theconsummatoryphaseofexperiencewhichisinterveningaswellas
finalalwayspresentssomethingnew.Admirationalwaysincludesanelementof
wonder.AsaRenascencewritersaid:Thereisnoexcellentbeautythathathnot
somestrangenessintheproportion.Theunexpectedturn,somethingwhichthe
artisthimselfdoesnotdefinitelyforesee,isaconditionofthefelicitousqualityof
aworkofartitsavesitfrombeingmechanical.Itgivesthespontaneityofthe
unpremeditatedtowhatwouldotherwisebeafruitofcalculation.Thepainterand
poetlikethescientificinquirerknowthedelightsofdiscovery.Thosewhocarry
ontheirworkasademonstrationofapreconceivedthesismayhavethejoysof
egotisticsuccessbutnotthatoffulfillmentofanexperienceforitsownsake.In
thelattertheylearnbytheirwork,astheyproceed,toseeandfeelwhathadnot
beenpartoftheiroriginalplanandpurpose.
Theconsummatoryphaseisrecurrentthroughoutaworkofart,andinthe
experienceofagreatworkofartthepointsofitsincidenceshiftinsuccessive
observationsofit.Thisfactsetstheinsuperablebarrierbetweenmechanical
productionanduseandestheticcreationandperception.Intheformerthereare
noendsuntilthefinalendisreached.Thenworktendstobelaborand
productiontobedrudgery.Butthereisnofinalterminappreciationofaworkof
art.Itcarriesonandis,therefore,instrumentalaswellasfinal.Thosewhodeny
thisfactconfinethesignificanceofinstrumentaltotheprocessofcontributingto
somenarrow,ifnotbase,officeofefficacy.Whenthefactisnotgivenaname,
theyacknowledgeit.Santayanaspeaksofbeingcarriedbycontemplationof

naturetoavividfaithintheideal.Thisstatementappliestoartastonature,and
itindicatesaninstrumentalfunctionexercisedbyaworkofart.Wearecarriedto
arefreshedattitudetowardthecircumstancesandexigenciesofordinary
experience.Thework,inthesenseofworking,ofanobjectofartdoesnotcease
whenthedirectactofperceptionstops.Itcontinuestooperateinindirect
channels.Indeed,personswhodrawbackatthementionofinstrumentalin
connectionwithartoftenglorifyartforpreciselytheenduringserenity,
refreshment,orreeducationofvisionthatareinducedbyit.The

140

ARTASEXPERIENCE

realtroubleisverbal.Suchpersonsareaccustomedtoassociatetheword
withinstrumentalitiesfornarrowendsasanumbrellaisinstrumentalto
protectionfromrainoramowingmachinetocuttinggrain.
Somefeatures,thatatfirstsightseemextraneous,belonginfactto
expressiveness.Fortheyfurtherthedevelopmentofanexperiencesoastogive
thesatisfactionpeculiartostrikingfulfillment.Thisistrue,forexample,of
evidenceofunusualskillandofeconomyinuseofmeans,whenthesetraitsare
integratedwiththeactualwork.Skillisthenadmirednotaspartoftheexternal
equipmentoftheartist,butasanenhancedexpressionbelonging~theobject.
Foritfacilitatesthecarryingonacontinuousprocesstoitsownpreciseand
definiteconclusion.Itbelongstotheproductandnotmerelytotheproducer,
becauseitisaconstituentofformjustasthegraceofagreyhoundmarksthe
movementsheperformsratherthanisatraitpossessedbytheanimalas
somethingoutsidethemovements.
Costlinessis,also,asSantayanahaspointedout,anelementinexpression,
acostlinessthathasnothingincommonwithvulgardisplayofpurchasingpower.
Raritycountstointensifyexpressionwhethertherarityisthatofinfrequent
occurrenceofpatientlabor,orbecauseithastheglamorofadistantclimeand
initiatesusintohardlyknownmodesofliving.Suchinstancesofcostlinessare
partofformbecausetheyoperateasdoallfactorsofthenewandunexpectedin
promotingthebuildingupofauniqueexperience.Thefamiliarmayalsohave
thiseffect.ThereareothersbesideCharlesLambwhoarepeculiarlysensitiveto
thecharmofthedomestic.Butthey
celebrate
thefamiliarinsteadofreproducing
itsformsinwaxypuppets.Theoldtakesonanewguiseinwhichthesenseof

thefamiliarisrescuedfromtheoblivionthatcustomusuallyeffects.Eleganceis
alsoapartofformforitmarksaworkwheneversubjectmattermovestoits
conclusionwithinevitablelogic.
Someofthetraitsmentionedaremoreoftenreferredtotechniquethanto
form.Theattributioniscorrectwheneverthequalitiesinquestionarereferredto
theartistratherthantohiswork.Thereisatechniquethatobtrudes,likethe
flourishesofawritingmaster.Ifskillandeconomysuggesttheirauthor,theytake
usawayfromtheworkitself.Thetraitsoftheworkwhich

THENATURALHISTORYOFFORM

141

suggesttheskillofitsproducerarethen
in
theworkbuttheyarenot
of
it.And
thereasontheyarenotofitispreciselythenegativesideofthepointwhichIam
emphasizing.Theydonottakeusanywhereintheinstitutionofunified
developingexperiencetheydonotactasinherentforcestocarrytheobjectof
whichtheyareaprofessedparttoconsummation.Suchtraitsarelikeanyother
superfluousorexcrescentelement.Techniqueneitheridenticalwithformnoryet
whollyindependentofit.Itis,properly,theskillwithwhichtheelements
constitutingformaremanaged.Otherwiseitisshowofforavirtuosityseparated
fromexpression.
Significantadvancesintechniqueoccur,therefore,inconnectionwithefforts
tosolveproblemsthatarenottechnicalbutthatgrowoutoftheneedfornew
modesofexperience.Thisstatementisastrueofestheticartsasofthe
technological.Thereareimprovementsintechniquethathavetodomerelywith
thebetteringofanoldstylevehicle.Buttheyareinsignificantincomparisonwith
thechangeintechniquefromthewagontotheautomobilewhensocialneeds
calledforarapidtransportationunderpersonalcontrolthatwasnotpossible
evenwiththerailwaylocomotive.Ifwetakedevelopmentsinthemajor
techniquesofpaintingduringandsincetheRenascencewefindthattheywere
connectedwitheffortstosolveproblemsthatgrewoutoftheexperience
expressedinpaintingandnotoutofthecraftsmanshipofpaintingitself.
Therewasfirsttheproblemoftransitionfromdepictionofcontoursinflatlike
mosaicstothreedimensionalpresentations.Untilexperienceexpandedto
demandexpressionofsomethingmorethandecorativerenderingsofreligious
themesdeterminedbyecclesiasticfiattherewasnothingtomotivatethischange.

Initsownplace,theconventionofflatpaintingisjustasgoodasanyother
convention,asChineserenderingofperspectiveisasperfectinonewayasthat
ofWesternpaintinginanother.Theforcethatbroughtaboutthechangein
techniquewasthegrowthofnaturalisminexperienceoutsideofart.Something
ofthesamesortappliestothenextgreatchange,masteryofmeansfor
renderingaerialperspectiveandlight.Thethirdgreattechnicalchangewasthe
usebytheVenetiansofcolortoeffectwhatotherschools,especiallythe
Florentine,hadaccom

142

ARTASEXPERIENCE

plishedbymeansofthesculpturesquelineachangeindicativeofavast
secularizationofvalueswithitsdemandfortheglorificationofthesumptuousand
suaveinexperience.
Iamnotconcerned,however,withthehistoryofanart,butwithindicating
howtechniquefunctionsinrespecttoexpressiveform.Thedependenceof
significanttechniqueupontheneedforexpressingcertaindistinctivemodesof
experienceistestifiedtobythethreestagesthatusuallyattendtheappearance
ofanewtechnique.Atfirstthereisexperimentationonthesideofartists,with
considerableexaggerationofthefactortowhichthenewtechniqueisadapted.
Thiswastrueoftheuseoflinetodefinerecognitionofthevalueoftheround,as
withMintingitistrueofthetypicalimpressionistsinrespecttolighteffects.On
thesideofthepublicthereisgeneralcondemnationoftheintentand
subjectmatteroftheseadventuresinart.Inthenextstage,thefruitsofthenew
procedureareabsorbedtheyarenaturalizedandeffectcertainmodificationsof
theoldtradition.Thisperiodestablishesthenewaimsandhencethenew
techniqueashavingclassicvalidity,andisaccompaniedwithaprestigethat
holdsoverintosubsequentperiods.Thirdly,thereisaperiodwhenspecial
featuresofthetechniqueofthemastersofthebalancedperiodareadoptedfor
imitationandmadeendsinthemselves.Thusinthelaterseventeenthcentury,
thetreatmentofdramaticmovementcharacteristicofTitianandstillmoreof
Tintoretto,bymeanschieflyoflightandshade,isexaggeratedtothepointofthe
theatrical.InGuercino,Caravaggio,Feti,Carracci,Ribera,theattempttodepict
movementdramaticallyresultsinposedtableauxanddefeatsitself.Inthisthird
stage(whichdogscreativeworkafterthelatterhasreceivedgeneral

recognition),techniqueisborrowedwithoutrelationtotheurgentexperiencethat
atfirstevokedit.Theacademicandeclecticresult.
Ihavepreviouslystatedthatcraftsmanshipaloneisnotart.Whatisnow
addedistheoftenignoredpointofthethoroughrelativityoftechniquetoformin
art.ItwasnotlackofdexteritythatgivesearlyGothicsculptureitsspecialform
northatgivesChinesepaintingstheirspecialkindofperspective.Theartistssaid
whattheyhadtosaybetterwiththetechniquestheyusedthantheycouldhave
donewithanother.Whattous

THENATURALHISTORYOFFORM

143

isacharmingnaivetewastothemthesimpleanddirectmethodofexpressing
afeltsubjectmatter.Forthisreason,whilethereisnotcontinuityofrepetitionin
anyestheticart,neitheristhere,ofnecessity,advance.Greeksculpturewill
neverbeequaledinitsownterms.ThorwaldsenisnoPheidias.Thatwhich
Venetianpaintersachievedwillstandunrivaled.Themodernreproductionofthe
architectureoftheGothiccathedralalwayslacksthequalityoftheoriginal.What
happensinthemovementofartisemergenceofnewmaterialsofexperience
demandingexpression,andthereforeinvolvingintheirexpressionnewformsand
techniques.Manetwentbackintimetoachievehisbrushwork,buthisreturn
involvednomerecopyingofanoldtechnique.
Therelativityoftechniquetoformisnowherebetterexemplifiedthanin
Shakespeare.Afterhisreputationwasestablishedastheuniversalliteraryartist,
criticsthoughtitnecessarytoassumethatgreatnessadheredtoallhiswork.
Theybuiltuptheoriesofliteraryformonthebasisofspecialtechniques.They
wereshockedwhenamoreaccuratescholarshipshowedthatmanymuch
laudedthingswereborrowedfromtheconventionsoftheElizabethanstage.To
thosewhohaveidentifiedtechniquewithform,theeffectistodeflate
Shakespearesgreatness.Buthissubstantialformremainsjustwhatitalways
hasbeenandisunaffectedbyhislocaladaptations.Allowanceforsomeaspects
ofhistechniqueshouldindeedbutconcentrateattentionuponwhatissignificant
inhisart.
Itishardlypossibletooverstatetherelativityoftechnique.Itvarieswithall
sortsofcircumstanceshavinglittlerelationtotheworkofartperhapsanew
discoveryinchemistrythataffectspigments.Thesignificantchangesarethose

whichaffectformitselfinitsestheticsense.Therelativityoftechniqueto
instrumentsisoftenoverlooked.Itbecomesimportantwhenthenewinstrument
isasignofachangeinculturethatis,inmaterialtobeexpressed.Earlypottery
islargelydeterminedbythepotterswheel.Rugsandblanketsowemuchoftheir
geometricdesigntothenatureoftheinstrumentofweaving.Suchthingsby
themselvesarelikethephysicalconstitutionofanartistasCzannewishedhe
hadManetsmuscles.Suchthingsbecomeofmorethanantiquarianinterestonly
whentheyrelate

144

ARTASEXPERIENCE

toachangeincultureandexperience.Thetechniqueofthosewhopainted
longagoonwallsofcavesandwhocarvedboneservedthepurposethat
conditionsofferedorimposed.Artistsalwayshaveusedandalwayswilluseall
kindsoftechniques.
Thereis,ontheotherside,atendencyamonglaycriticstoconfine
experimentationtoscientistsinthelaboratory.Yetoneoftheessentialtraitsof
theartististhatheisbornanexperimenter.Withoutthistraithebecomesapoor
oragoodacademician.Theartistiscompelledtobeanexperimenterbecause
hehastoexpressanintenselyindividualizedexperiencethroughmeansand
materialsthatbelongtothecommonandpublicworld.Thisproblemcannotbe
solvedonceforall.Itismetineverynewworkundertaken.Otherwiseanartist
repeatshimselfandbecomesestheticallydead.Onlybecausetheartistoperates
experimentallydoesheopennewfieldsofexperienceanddisclosenewaspects
andqualitiesinfamiliarscenesandobjects.
If,insteadofsayingexperimentaloneweretosayadventurous,onewould
probablywingeneralassentsogreatisthepowerofwords.Becausetheartist
isaloverofunalloyedexperience,heshunsobjectsthatarealreadysaturated,
andheisthereforealwaysonthegrowingedgeofthings.Bythenatureofthe
case,heisasunsatisfiedwithwhatisestablishedasisageographicexploreror
ascientificinquirer.Theclassicwhenitwasproducedborethemarksof
adventure.Thisfactisignoredbyclassicistsintheirprotestagainstromantics
whoundertakethedevelopmentofnewvalues,oftenwithoutpossessingmeans
fortheircreation.Thatwhichisnowclassicissobecauseofcompletionof
adventure,notbecauseofitsabsence.Theonewhoperceivesandenjoys

estheticallyalwayshasthesenseofadventureinreadinganyclassicthatKeats
hadinreadingChapmansHomer.

FORMintheconcretecanbediscussedonlywithrespecttoactualworksof
art.Thesecannotbepresentedinabookonthetheoryofesthetics.But
absorptioninaworkofartsocompleteastoexcludeanalysiscannotbelong
sustained.Thereisarhythmofsurrenderandreflection.Weinterruptouryielding
totheobjecttoaskwhereitisleadingandhowitisleadingthere.We

THENATURALHISTORYOFFORM

145

thenbecomeoccupiedinsomedegreewiththeformalconditionsofa
concreteform.Wehave,indeed,alreadymentionedtheseconditionsofformin
speakingofcumulation,tension,conservation,anticipation,andfulfillmentas
formalcharacteristicsofanestheticexperience.Theonewhowithdrawsfar
enoughfromtheworkofarttoescapethehypnoticeffectofitstotalqualitative
impressionwillnotusethesewordsnorbeexplicitlyconsciousofthethingsfor
whichtheystand.Butthetraitshedistinguishesasthosewhichgavetheworkits
poweroverhimarereducibletosuchconditionsofformashavebeenstated.
Thetotaloverwhelmingimpressioncomesfirst,perhapsinseizurebya
suddengloryofthelandscape,orbytheeffectuponusofentranceintoa
cathedralwhendimlight,incense,stainedglassandmajesticproportionsfusein
oneindistinguishablewhole.Wesaywithtruththatapaintingstrikesus.Thereis
animpactthatprecedesalldefiniterecognitionofwhatitisabout.Asthepainter
Delacroixsaidaboutthisfirstandpreanalyticphasebeforeknowingwhatthe
picturerepresentsyouareseizedbyitsmagicalaccord.Thiseffectis
particularlyconspicuousformostpersonsinmusic.Theimpressiondirectlymade
byanharmoniousensembleinanyartisoftendescribedasthemusicalquality
ofthatart.
Notonly,however,isitimpossibletoprolongthisstageofestheticexperience
indefinitely,butitisnotdesirabletodoso.Thereisonlyoneguaranteethatthis
directseizurebeatahighlevel,andthatisthedegreeofcultivationoftheone
experiencingit.Initselfitmaybe,andoftenis,theresultofcheapmeans
employeduponmeretriciousstuff.Andtheonlywayinwhichtorisefromthat
leveltoonewherethereisintrinsicassuranceofworthisthroughintervening

periodsofdiscrimination.Distinctioninproductisintimatelyconnectedwiththe
processofdistinguishing.
Whilebothoriginalseizureandsubsequentcriticaldiscriminationhaveequal
claims,eachtoitsowncompletedevelopment,itmustnotbeforgottenthatdirect
andunreasonedimpressioncomesfirst.Thereisaboutsuchoccasions
somethingofthequalityofthewindthatblowethwhereitlisteth.Sometimesit
comesandsometimesitdoesnot,eveninthepresenceofthesameobject.It
cannotbeforced,and,whenitdoesnot

146

ARTASEXPERIENCE

arrive,itisnotwisetoseektorecoverbydirectactionthefirstfinerapture.
Thebeginningofestheticunderstandingistheretentionofthesepersonal
experiencesandtheircultivation.For,intheend,nourishingofthemwillpass
intodiscrimination.Theoutcomeofdiscriminationwilloftenbetoconvinceus
thattheparticularthinginquestionwasnotworthyofcallingouttheraptseizure
thatinfactthelatterwascausedbyfactorsadventitioustotheobjectitself.But
thisoutcomeisitselfadefinitecontributiontoestheticeducationandliftsthenext
directimpressiontoahigherlevel.Intheinterestofdiscrimination,aswellasthat
ofdirectcapturebytheobject,theonesuremeansisrefusaltosimulateand
pretendwhenthatwhich,whenitwasintense,seemedtotheancientstobea
kindofdivinemadness,doesnotarrive.
Thephaseofreflectionintherhythmofestheticappreciationiscriticismin
germandthemostelaborateandconsciouscriticismisbutitsreasoned
expansion.Thedevelopmentofthatparticularthemebelongselsewhere.*But
onetopicbelongingwithinthatgeneralthememustatleastbetouchedupon
here.Manytangledproblems,multifariousambiguities,andhistoriccontroversies
areinvolvedinthequestionofthesubjectiveandobjectiveinart.Yetifthe
positionthathasbeentakenregardingformandsubstanceiscorrect,thereisat
leastoneimportantsenseinwhichformmustbeasobjectiveasthematerial
whichitqualifies.Ifformemergeswhenrawmaterialsareselectivelyarranged
withreferencetorenderinganexperienceunifiedinmovementtoitsintrinsic
fulfillment,thensurelyobjectiveconditionsarecontrollingforcesintheproduction
ofaworkofart.Aworkoffineart,astatue,building,drama,poem,novel,when
done,isasmuchapartoftheobjectiveworldasisalocomotiveoradynamo.

And,asmuchasthelatter,itsexistenceiscausallyconditionedbythe
coordinationofmaterialsandenergiesoftheexternalworld.Idonotmeanthat
thisisthewholeoftheworkofarteventheproductofindustrialartwasmadeto
serveapurposeandisactually,insteadofpotentially,alocomotiveasitoperates
inconditionswhereitproducesconsequencesbeyonditsbarephysicalbeing
as,namely,ittransportshumanbeingsandgoods.ButIdomeanthattherecan
benoestheticexperi
*
SeeChapterXIII.

THENATURALHISTORYOFFORM

147

enceapartfroman
object,
andthatforanobjecttobethecontentofesthetic
appreciationitmustsatisfythose
objective
conditionswithoutwhichcumulation,
conservation,reenforcement,transitionintosomethingmorecomplete,are
impossible.Thegeneralconditionsofestheticform,ofwhichIspokeafew
paragraphsago,areobjectiveinthesenseofbelongingtotheworldofphysical
materialsandenergies:whilethelatterdonotsufficeforanestheticexperience,
theyarea
sinequanon
ofitsexistence.Andtheimmediateartisticevidencefor
thetruthofthisstatementistheinterestthatobsesseseveryartistinobserving
theworldabouthimandhisdevotedcareforthephysicalmediawithwhichhe
works.
What,then,arethoseformalconditionsofartisticformthatarerooteddeepin
theworlditself?Theimplicationsofthequestioninvolvenomaterialnotalready
considered.Interactionofenvironmentwithorganismisthesource,director
indirect,ofallexperienceandfromtheenvironmentcomethosechecks,
resistances,furtherances,equilibria,which,whentheymeetwiththeenergiesof
theorganisminappropriateways,constituteform.Thefirstcharacteristicofthe
environingworldthatmakespossibletheexistenceofartisticformisrhythm.
Thereisrhythminnaturebeforepoetry,painting,architectureandmusicexist.
Wereitnotso,rhythmasanessentialpropertyofformwouldbemerely
superimposeduponmaterial,notanoperationthroughwhichmaterialeffectsits
ownculminationinexperience.
Thelargerrhythmsofnaturearesoboundupwiththeconditionsofeven
elementaryhumansubsistence,thattheycannothaveescapedthenoticeofman
assoonashebecameconsciousofhisoccupationsandtheconditionsthat

renderedthemeffective.Dawnandsunset,dayandnight,rainandsunshine,are
intheiralternationfactorsthatdirectlyconcernhumanbeings.
Thecircularcourseoftheseasonsaffectsalmosteveryhumaninterest.
Whenmanbecameagricultural,therhythmicmarchoftheseasonswasof
necessityidentifiedwiththedestinyofthecommunity.Thecycleofirregular
regularitiesintheshapeandbehaviorofthemoonseemedfraughtwith
mysteriousimportforthewelfareofman,beast,andcrops,andinextricably
boundupwiththemysteryofgeneration.Withtheselargerrhythmswerebound
upthoseoftheeverrecurringcyclesofgrowthfrom

148

ARTASEXPERIENCE

seedtoamaturitythatreproducedtheseedthereproductionofanimals,the
relationofmaleandfemale,theneverceasingroundofbirthsanddeaths.
Mansownlifeisaffectedbytherhythmofwakingandsleeping,hungering
andsatiety,workandrest.Thelongrhythmsofagrarianpursuitswerebroken
intominuterandmoredirectlyperceptiblecycleswiththedevelopmentofthe
crafts.Withtheworkingofwood,metal,fibers,clay,thechangeofrawmaterial
intoconsummatedresult,throughtechnicallycontrolledmeans,isobjectively
manifest.Inworkingthematter,therearetherecurrentbeatsofpatting,chipping,
molding,cutting,pounding,thatmarkofftheworkintomeasures.Butmore
significantwerethosetimesofpreparationforwarandplanting,thosetimesof
celebratingvictoryandharvest,whenmovementsandspeechtookoncadenced
form.
Thus,soonerorlater,theparticipationofmaninnaturesrhythms,a
partnershipmuchmoreintimatethanisanyobservationofthemforpurposesof
knowledge,inducedhimtoimposerhythmonchangeswheretheydidnot
appear.Theapportionedreed,thestretchedstringandtautskinrenderedthe
measuresofactionconsciousthroughsonganddance.Experiencesofwar,of
hunt,ofsowingandreaping,ofthedeathandresurrectionofvegetation,ofstars
circlingoverwatchfulshepherds,ofconstantreturnoftheinconstantmoon,were
undergonetobereproducedinpantomimeandgeneratedthesenseoflifeas
drama.Themysteriousmovementsofserpent,elk,boar,fellintorhythmsthat
broughttheveryessenceofthelivesoftheseanimalstorealizationastheywere
enactedindance,chiseledinstone,wroughtinsilver,orlimnedonthewallsof
caves.Theformativeartsthatshapedthingsofusewereweddedtotherhythms

ofvoiceandtheselfcontainedmovementsofthebody,andoutoftheunion
technicalartsgainedthequalityoffineart.Thentheapprehendedrhythmsof
naturewereemployedtointroduceevidentorderintosomephaseofthe
confusedobservationsandimagesofmankind.Mannolongerconformedhis
activitiesofnecessitytotherhythmicchangesofnaturescycles,butusedthose
whichnecessityforceduponhimtocelebratehisrelationstonatureasifshehad
conferreduponhimthefreedomofherrealm.

THENATURALHISTORYOFFORM

149

Thereproductionoftheorderofnaturalchangesandtheperceptionofthat
orderwereatfirstclosetogether,soclosethatnodistinctionexistedbetweenart
andscience.Theywerebothcalled
techne.
Philosophywaswritteninverseand,
undertheinfluenceofimaginativeendeavor,theworldbecameacosmos.Early
Greekphilosophytoldthestoryofnature,andsinceastoryhasbeginning,
movement,andclimax,thesubstanceofthestorydemandedestheticform.
Withinthestory,minorrhythmsbecamepartsofthegreatrhythmofgeneration
anddestruction,ofcomingintobeingandpassingoutofbeingofremissionand
concentrationofaggregationanddispersionofconsolidationanddissolution.
Theideaoflawemergedwiththeideaofharmony,andconceptionsthatarenow
prosaiccommonplacesemergedaspartsoftheartofnatureasthatwas
construedintheartoflanguage.
Theexistenceofamultitudeof
illustrations
ofrhythminnatureisafamiliar
fact.Oftcitedaretheebbandflowoftides,thecycleoflunarchanges,the
pulsesintheflowofblood,theanabolismandkatabolismofalllivingprocesses.
Whatisnotsogenerallyperceivedisthateveryuniformityandregularityof
changeinnatureisarhythm.Thetermsnaturallawandnaturalrhythmare
synonymous.Asfarasnatureistousmorethanafluxlackingorderinits
mutablechanges,asfarasitismorethanawhirlpoolofconfusions,itismarked
byrhythms.Formulafortheserhythmsconstitutethecanonsofscience.
Astronomy,geology,dynamics,andkinematicsrecordvariousrhythmsthatare
theordersofdifferentkindsofchange.Theveryconceptionsofmolecule,atom,
andelectronariseoutoftheneedofformulatinglesserandsubtlerrhythmsthat
arediscovered.Mathematicsarethemostgeneralizedstatementsconceivable

correspondingtothemostuniversallyobtainingrhythms.Theone,two,three,
four,ofcounting,theconstructionoflinesandanglesintogeometricpatterns,the
highestflightsofvectoranalysis,aremeansofrecordingorofimposingrhythm.
Thehistoryoftheprogressofnaturalscienceistherecordofoperationsthat
refineandthatrendermorecomprehensiveourgraspofthegrossandlimited
rhythmsthatfirstengagedtheattentionofarchaicman.Thedevelopment
reachedapointwhere

150

ARTASEXPERIENCE

thescientificandartisticpartedways.Todaytherhythmswhichphysical
sciencecelebratesareobviousonlytothought,nottoperceptioninimmediate
experience.Theyarepresentedinsymbolswhichsignifynothingin
senseperception.Theymakenaturalrhythmsmanifestonlytothosewhohave
undergonelongandseverediscipline.Yetacommoninterestinrhythmisstillthe
tiewhichholdsscienceandartinkinship.Becauseofthiskinship,itispossible
thattheremaycomeadayinwhichsubjectmatterthatnowexistsonlyfor
laboriousreflection,thatappealsonlytothosewhoaretrainedtointerpretthat
whichtosenseareonlyhieroglyphics,willbecomethesubstanceofpoetry,and
therebybethematterofenjoyedperception.
Becauserhythmisauniversalschemeofexistence,underlyingallrealization
oforderinchange,itpervadesallthearts,literary,musical,plasticand
architectural,aswellasthedance.Sincemansucceedsonlyasheadaptshis
behaviortotheorderofnature,hisachievementsandvictories,astheyensue
uponresistanceandstruggle,becomethematrixofallestheticsubjectmatterin
somesensetheyconstitutethecommonpatternofart,theultimateconditionsof
form.Theircumulativeordersofsuccessionbecomewithoutexpressintentthe
meansbywhichmancommemoratesandcelebratesthemostintenseandfull
momentsofhisexperience.Underneaththerhythmofeveryartandofevery
workofarttherelies,asasubstratuminthedepthsofthesubconsciousness,the
basicpatternoftherelationsofthelivecreaturetohisenvironment.
Itisnot,therefore,justbecauseofthesystoleanddiastoleInthecoursingof
theblood,oralternateinspirationandexhalationinbreathing,theswingofthe
legsandarmsinlocomotion,norbecauseofanycombinationofspecific

exemplificationsofnaturalrhythm,thatmandelightsinrhythmicportrayalsand
presentations.Theimportanceofsuchconsiderationsisgreat.Butultimatelythe
delightspringsfromthefactthatsuchthingsareinstancesoftherelationships
thatdeterminethecourseoflife,naturalandachieved.Thesuppositionthatthe
interestinrhythmwhichdominatesthefineartscanbeexplainedsimplyonthe
basisofrhythmicprocessesinthelivingbodyisbutanothercaseofthe
separationoforganismfromenvironment.Manattendedtotheenvironmentlong
beforehegavemuchobservationor

THENATURALHISTORYOFFORM

151

thoughttohisownorganicprocessesandcertainlylongbeforehedeveloped
attentiveinteresttohisownmentalstates.
Naturalismisawordofmanymeaningsinphilosophyaswellasinart.Like
mostismsclassicismandromanticism,idealismandrealisminartithas
becomeanemotionalterm,awarcryofpartisans.Inrespecttoart,evenmore
thaninrespecttophilosophy,formaldefinitionsleaveuscoldbythetimewe
arriveatthem,theelementsthatstirredthebloodandarousedadmirationinthe
concretehavevanished.Inpoetry,natureisoftenassociatedwithaninterest
thatisdistinctfrom,ifnotopposedto,matterderivedfromthelifeofmenin
association.AswithWordsworth,natureis,then,thattowhichoneturnsin
communionforthesakeofconsolationandpeace

whenthefretfulstir
Unprofitable,andthefeveroftheworld
Havehunguponthebeatingsoftheheart.

Inpainting,naturalismsuggeststurningtothemoreincidentaland,asit
were,informal,themoreimmediatelyevidentaspectsofearth,sky,andwaterin
distinctionfromthosepicturesthatattendtostructuralrelationships.But
naturalisminthebroadestanddeepestsenseofnatureisanecessityofallgreat
art,evenofthemostreligiouslyconventionalandofabstractpainting,andofthe
dramathatdealswithhumanactioninanurbansetting.Discriminationcanbe
madeonlywithreferencetotheparticularaspectandphaseofnatureinwhich
therhythmsthatmarkallrelationshipsoflifeanditssettingaredisplayed.

Naturalandobjectiveconditionsmustbeusedinanycasetocarrythroughto
completiontheexpressionofthevaluesthatbelongtoanintegratedexperience
initsimmediatequality.Butnaturalisminartmeanssomethingmorethanthe
necessityallartsareunderofemployingnaturalandsensuousmedia.Itmeans
thatallwhichcanbeexpressedissomeaspectoftherelationofmanandhis
environment,andthatthissubjectmatterattainsitsmostperfectweddingwith
formwhenthebasicrhythmsthatcharacterizetheinteractionofthetwoare
dependeduponandtrustedwithabandon.Naturalismisoftenallegedtosignify
disregardofallvaluesthatcannotbereducedtothe

152

ARTASEXPERIENCE

physicalandanimal.Butsotoconceivenatureistoisolateenvironing
conditionsasthewholeofnatureandtoexcludemanfromtheschemeofthings.
Theveryexistenceofartasanobjectivephenomenonusingnaturalmaterials
andmediaisproofthatnaturesignifiesnothinglessthanthewholecomplexof
theresultsoftheinteractionofman,withhismemoriesandhopes,
understandinganddesire,withthatworldtowhichonesidedphilosophyconfines
nature.Thetrueantithesisofnatureisnotartbutarbitraryconceit,fantasy,and
stereotypedconvention.
Notbutthatthereexistconventionswhicharevitalandnatural.Theartsin
certaintimesandplacesarecontrolledbyconventionsofriteandceremony.Yet
theydonotthenofnecessitybecomebarrenandunesthetic,fortheconventions
themselvesliveinthelifeofthecommunity.Evenwhentheyassumeprescribed
hieraticandliturgicalshapes,theymayexpresswhatisactiveintheexperience
ofthegroup.WhenHegelassertedthatthefirststageinartisalwayssymbolic
hehinted,intermsofhisphilosophy,atthefactthatcertainartswereoncefree
toexpressonlythataspectofexperiencethathadapriestlyorroyalsanction.
Yetitwasstillanaspectofexperiencethatwasexpressed.Moreover,asa
generalization,thecharacterizationisfalse.Forinalltimesandplaces,there
havebeenpopularartsofsong,dance,storytelling,andpicturemaking,outside
ofofficiallysanctionedanddirectedarts.Thesecularartswere,however,more
directlynaturalistic,and,wheneversecularisminvadedexperience,theirqualities
remadetheofficialartsinanaturalisticdirection.Asfarasthisdidnotoccur,that
whichwasoncevitaldegenerated.Witness,forexample,thedegenerate

baroquethatisfoundinpublicsquaresinsouthwesternEurope.Itistrivialtothe
pointoffrivolity,withcupidsmasqueradingforcherubs,asatypicalexample.
Genuinenaturalismisasdifferentfromimitationofthingsandtraitsasitis
fromimitationoftheproceduresofartistsuponwhomtimehasconferred
speciousauthorityspeciousbecausenotarisingfromexperienceofthethings
whichtheyexperiencedandexpressed.Itisatermofcontrastandsignifiesa
deeperandwidersensitivitytosomeaspectoftherhythmsofexistencethanhad
previouslyexisted.Itisatermofcontrast,becauseit

THENATURALHISTORYOFFORM

153

signifiesthatinsomeparticularapersonalperceptionhasbeensubstituted
foraconvention.Letmerecurtowhatwaspreviouslysaidabouttheexpression
ofbeatificationinpaintings.Theassumptionthatcertaindefinitelinesstandfora
givenemotionisaconventionthatdoesnotarisefromobservationitstandsin
thewayofacutesensitivityofresponse.Genuinenaturalismsupervenedwhen
the
unfixity
ofhumanfeaturesundertheinfluenceofemotionswasperceived
whentheirownvarietyofrhythmwasreactedto.Idonotmeantorestrictlimiting
conventionstoecclesiasticinfluence.Morehamperingonesarisewithinartists
themselveswhentheybecomeacademic,likethelatereclecticpaintinginItaly
andmostofEnglishpoetryintheeighteenthcentury.WhatforconvenienceIcall
realisticart(thewordisarbitrarybutthethingexists),indistinctionfrom
naturalistic,reproducesdetailsbutmissestheirmovingandorganizingrhythm.
Likeaphotographitwearsout,savefortherecordingpurposesofprose.Itwears
outbecausetheobjectcanbeapproachedonlyfromonefixedpointofview.The
relationsthatformasubtlerhythmpromoteapproachfromchangingpointsof
view.Howmanyindividualizedvarietiesofpersonalexperienceutilizearhythm
thatisformallythesame,thoughitisactuallydifferentiatedbythematerialwhich
itformsintothesubstanceofaworkofart!
InoppositiontothesocalledpoeticdictionthatflourishedinEnglandafterthe
deathofMilton,Wordsworthspoetrywasanaturalisticrevolt.Theassumption
(duetomisunderstandingofsomethingthatWordsworthwrote)thatitsessence
wasauseofwordsofthecommonidiommakesnonsenseofhisactualwork.
Foritassumesthathecontinuedtheseparationofformandsubstance
characteristicofearlierpoetry,onlyturningitfaceabout.Infact,itssignificanceis

illustratedinanearlycoupletofthepoetwhenthatistakeninconnectionwitha
commentofhisown.

And,frontingthebrightwest,yonoakentwinesItsdarkeningboughsand
leavesinstrongerlines.

Thisisverseratherthanpoetry.Itisstarkdescriptionuntouchedbyemotion.
AsWordsworthhimselfsaidofit:Thisis

154

ARTASEXPERIENCE

feeblyandimperfectlyexprest.Buthegoesontoadd,Irecollectdistinctlythe
veryspotwherethisfirststruckme.ItwasonthewaybetweenHawksheadand
Amblesideandgavemeextremepleasure.Themomentwasimportantinmy
poetichistoryforIdatefromitmyconsciousnessof
theinfinitevarietyofnatural
appearance3
whichhadbeenunnoticedbythepoetsofanyageorcountry,so
farasIwasacquaintedwiththemandImadearesolutiontosupplyinsome
degreethedeficiency.Icouldnotatthistimehavebeenabovefourteenyearsof
age.
Hereisadefiniteinstanceoftransitionfromtheconventional,fromsomething
abstractlygeneralizedthatbothsprangfromandconducedtoincomplete
perception,tothenaturalistictoanexperiencethatcorrespondedmoresubtly
andsensitivelytotherhythmofnaturalchange.Foritwasnotmerevariety,mere
flux,hewishedtoexpress,butthatoforderedrelationshipstherelationof
accentofleavesandboughstovariationsofsunshine.Thedetailsofplaceand
time,oftheparticularoak,disappeartherelationremainsandyetnotinthe
abstractbutdefinitely,though,inthisparticularcase,ratherprosaically
embodied.
Thediscussioninvolvesnodiversionfromthethemeofrhythmasacondition
ofform.Otherpersonsmayprefersomeotherwordthannaturalistictoexpress
escapefromconventiontoperception.Butwhateverwordisused,itmust,ifitis
tobetruetorefreshmentofestheticform,emphasizesensitivitytonatural
rhythm.Andthisfactbringsmetoashortdefinitionofrhythm.Itisordered
variationofchanges.Whenthereisauniformlyevenflow,withnovariationsof
intensityorspeed,thereisnorhythm.Thereisstagnationeventhoughitbethe

stagnationofunvaryingmotion.Equallythereisnorhythmwhenvariationsare
notplaced.Thereisawealthofsuggestioninthephrase
takesplace.
The
changenotonlycomesbutitbelongsithasitsdefiniteplaceinalargerwhole.
Themostobviousinstancesofrhythmconcernvariationsinintensityas,inthe
versesquotedfromWordsworth,certainformsgrowstrongagainsttheweaker
formsofotherboughsandleaves.Thereisnorhythmofanykind,nomatterhow
delicateandnomatterhowextensive,wherevariationofpulseandrestdonot
occur.Butthesevariationsofintensityarenot,inanycomplexrhythm,thewhole
ofthe

THENATURALHISTORYOFFORM

155

matter.Theyservetodefinevariationsinnumber,inextent,invelocity,andin
intrinsicqualitativedifferences,asofhue,tone,etc.Thatis,variationsofintensity
arerelativetothesubjectmatterdirectlyexperienced.Eachbeat,in
differentiatingapartwithinthewhole,addstotheforceofwhatwentbeforewhile
creatingasuspensethatisademandforsomethingtocome.Itisnotavariation
inasinglefeaturebutamodulationoftheentirepervasiveandunifying
qualitativesubstratum.
Agasthatevenlysaturatesacontainer,atorrentialfloodsweepingawayall
resistance,astagnantpond,anunbrokenwasteofsand,andamonotonousroar
arewholeswithoutrhythm.Apondmovinginripples,forkedlightning,thewaving
ofbranchesinthewind,thebeatingofabirdswing,thewhorlofsepalsand
petals,changingshadowsofcloudsonameadow,aresimplenaturalrhythms.*
Theremustbeenergiesresistingeachother.Eachgainsintensityforacertain
period,buttherebycompressessomeopposedenergyuntilthelattercan
overcometheotherwhichhasbeenrelaxingitselfasitextends.Thenthe
operationisreversed,notnecessarilyinequalperiodsoftimebutinsomeratio
thatisfeltasorderly.Resistanceaccumulatesenergyitinstitutesconservation
untilreleaseandexpansionensue.Thereis,atthemomentofreversal,an
interval,apause,arest,bywhichtheinteractionofopposedenergiesisdefined
andrenderedperceptible.Thepauseisabalanceorsymmetryofantagonistic
forces.Suchisthegenericschemaofrhythmicchangesavethatthestatement
failstotakeaccountofminorcoincidentchangesofexpansionandcontraction
thataregoingonineveryphaseandaspectofanorganizedwhole,andofthe

factthatthesuccessivewavesandpulsesaxethemselvescumulativewith
respecttofinalconsummation.
Withrespecttohumanemotion,animmediatedischargethatisfatalto
expressionisdetrimentaltorhythm.Thereisnotenoughresistancetocreate
tension,andtherebyaperiodicaccumulationandrelease.Energyisnot
conservedsoastocontributetoanordereddevelopment.Wegetasobor
shriek,agrimace,ascowl,acontortion,afiststrikingoutwildly.Darwinsbook
entitledExpressionofEmotionsmoreaccuratelytheirdischarge
*
Thefactthatwedesignateitawhorlindicatesthatwearesubconsciously
awareofthetensionofenergiesinvolved.

156

ARTASEXPERIENCE

isfullofexamplesofwhathappenswhenanemotionissimplyanorganicstate
letlooseontheenvironmentindirectovertaction.Whencompletereleaseis
postponedandisarrivedatfinallythroughasuccessionoforderedperiodsof
accumulationandconservation,markedoffintointervalsbytherecurrentpauses
ofbalance,themanifestationofemotionbecomestrueexpression,acquiring
estheticqualityandonlythen.
Emotionalenergycontinuestoworkbutnowdoesrealworkitaccomplishes
something.Itevokes,assembles,accepts,andrejectsmemories,images,
observations,andworksthemintoawholetonedthroughoutbythesame
immediateemotionalfeeling.Therebyispresentedanobjectthatisunifiedand
distinguishedthroughout.Theresistanceofferedtoimmediateexpressionof
emotionispreciselythatwhichcompelsittoassumerhythmicform.This,indeed,
isColeridgesexplanationofmeterinverse.Itsorigin,hesays,hewouldtraceto
thebalanceinthemindeffectedbythatspontaneouseffortwhichstrivestohold
inchecktheworkingsofpassion....Thissalutaryantagonismisassistedbythe
verystatewhichitcounteracts,andthisbalanceofantagonistsbecomes
organizedintometerbyasuperveningactofwillorjudgment,consciouslyand
fortheforeseenpurposeofpleasure.Thereisaninterpenetrationofpassion
andofwill,ofspontaneousimpulseandvoluntarypurpose.Meterthustendsto
increasethevivacityandsusceptibilityofboththegeneralfeelingsandthe
attention.Thiseffectitproducesbythecontinuedexcitementofsurpriseandthe
quickreciprocationsofcuriositygratifiedandreexcited,whicharetooslight
indeedtobeatanyonemomentobjectsofdistinctconsciousness,yetbecome
considerableintheiraggregateinfluence.Musiccomplicatesandintensifiesthe

processofgenialreciprocatingantagonism,suspenseandreenforcement,where
thevariousvoicesatonceopposeandansweroneanother.
Santayanahastrulyremarked:Perceptionsdonotremaininthemind,as
wouldbesuggestedbythetritesimileofthesealandthewax,passiveand
changeless,untiltimewearsofftheirroughedgesandmakesthemfade.No,
perceptionsfallintothebrainratherasseedsintoafurrowedfieldorevenas
sparksintoakegofgunpowder.Eachimagebreedsahundredmore,sometimes
slowlyandsubterraneously,sometimes(aswhena

THENATURALHISTORYOFFORM

157

passionatetrainisstarted)withasuddenburstoffancy.Eveninabstract
processesofthought,connectionwiththeprimarymotorapparatusisnotentirely
severed,andthemotormechanismislinkedupwithreservoirsofenergyinthe
sympatheticandendocrinesystem.Anobservation,anideaflashingintothe
mind,startssomething.Theresultmaybeatoodirectdischargetoberhythmic.
Theremaybeadisplayofrudeundisciplinedforce.Theremaybeafeebleness
thatallowsenergytodissipateitselfinidledaydreaming.Theremaybetoogreat
opennessofcertainchannelsduetohabitshavingbecomeblindroutineswhen
activitytakestheformsometimesidentifiedexclusivelywithpracticaldoing.
Unconsciousfearsofaworldunfriendlytodominatingdesiresbreedinhibitionof
allactionorconfineitwithinfamiliarchannels.Therearemultitudesofways,
varyingbetweenpolesoftepidapathyandroughimpatience,inwhichenergy
oncearoused,failstomoveinanorderedrelationofaccumulation,opposition,
suspenseandpause,towardfinalconsummationofanexperience.Thelatteris
theninchoate,mechanical,orlooseanddiffuse.Suchcasesdefine,bycontrast,
thenatureofrhythmandexpression.
Physically,ifyouturnafaucetonlyalittle,resistancetotheflowcompelsa
conservationofenergyuntilresistanceisovercome.Thenwatercomesin
individualdropsandatregularintervals.Ifastreamofwaterfallsasufficient
distance,asinacataract,surfacetensioncausesthestreamtoreachthebottom
insingleglobules.Polarity,oroppositionofenergies,iseverywherenecessaryto
thedefinition,thedelimitation,thatresolvesanotherwiseuniformmassand
expanseintoindividualforms.Atthesametimethebalanceddistributionof
oppositeenergiesprovidesthemeasureororderwhichpreventsvariationfrom

becomingadisorderedheterogeneity.Paintingsaswellasmusic,drama,and
thenovelarecharacterizedbytension.Initsobviousformsitisseenintheuse
ofcomplementarycolors,thecontrastofforegroundandbackground,ofcentral
andperipheralobjects.Inmodernpaintings,thenecessarycontrastandrelation
oflightanddarkisnotattainedbyusingshading,umbersandbrowns,butby
purecolorseachofwhichinitselfisbright.Curvessimilartooneanotherare
usedindefiningcontoursbutwithopposeddirection,upanddown,forwardand
back.Singlelinesalsoex

158

ARTASEXPERIENCE

hibittension.AsLeoSteinhasremarked,Tensioninlinecanbeobservedifone
willfollowtheoutlineofavaseandnoticetheforceittakestobendthelineofa
contour.Thiswilldependupontheinherentelasticityoftheline,thedirectionand
energyimpartedbythepreviousportion,andsoon.Theuniversalityofuseof
intervalsinworksofartissignificant.Theyarenotbreaks,sincetheybringabout
bothindividualizeddelimitationandproportionatedistribution.Theyspecifyand
theyrelateatthesametime.
Themediumthroughwhichenergyoperatesdeterminestheresultingwork.
Theresistancetobeovercomeinsong,dance,anddramaticpresentationis
partlywithintheorganismitself,embarrassment,fear,awkwardness,
selfconsciousness,lackofvitality,andpartlyintheaudienceaddressed.Lyrical
utteranceanddance,thesoundsemittedbymusicalinstrumentsstirthe
atmosphereortheground.Theydonothavetomeettheoppositionthatisfound
inreshapingexternalmaterial.Resistanceispersonalandconsequencesare
directlypersonalonthesideofbothproducerandconsumer.Yeteloquent
utteranceisnotwritinwater.Theorganisms,thepersonsconcernedareinsome
measureremade.Composer,writer,painter,sculptor,workinamediumthatis
moreexternalandatagreaterremovefromtheaudiencethandoactor,dancer,
andmusicalperformer.Theyreshapeanexternalmaterialthatoffersresistance
andsetsuptensionswithin,whiletheyarerelievedofthepressureexercisedby
animmediateaudience.Thedifferencegoesdeep.Itappealstodifferencein
temperamentandtalentanddifferentmoodsintheaudience.Paintingand
architecturecannotreceivethedirectexcitedsimultaneousacclaimevokedby

thetheater,thedance,andthemusicalperformance.Thedirectpersonalcontact
establishedbyeloquence,music,andenacteddramais
suigeneris.
Theimmediateeffectoftheplasticandarchitecturalartsisnotorganicbutin
theenduringenvironingworld.Itisatoncemoreindirectandmorelasting.Song
anddramarecordedinletters,musicthatiswritten,taketheirplaceamongthe
formativearts.Theeffectoftheobjectivemodificationsbroughtaboutinthe
formativeartsisdual.Ontheonehand,thereisadirectloweringoftension
betweenmanandtheworld.Manfindshimselfmoreathome,sinceheisina
worldthathehasparticipated

THENATURALHISTORYOFFORM

159

inmaking.Hebecomeshabituatedandrelativelyatease.Insomecasesand
withincertainlimits,theresultinggreateraccommodationofmanandthe
environmenttoeachotherisunfavorabletofurtherestheticcreation.Thingsare
nowtoosmooththereisnotenoughirregularitytocreatedemandforanew
manifestationandopportunityforanewrhythm.Artbecomesstereotyped,and
contentedwithplayingminorvariationsuponoldthemesinstylesandmanners
thatareagreeablebecausetheyarethechannelsofpleasantreminiscence.The
environmentis,insofar,exhausted,wornout,estheticallyspeaking.The
recurrenceoftheacademicandeclecticintheartsisaphenomenonthatcannot
beignored.Andifweusuallyassociatetheacademicwithpaintingandsculpture
ratherthanwith,say,poetryorthenovel,itisnonethelesstruethatthereliance
ofthelatteruponstockscenes,variationsoffamiliarsituationsanddressingsup
ofreadilyrecognizedtypesofcharacterhaveallthetraitsthatmakeuscalla
pictureacademic.
Butintime,thisveryfamiliaritysetsupresistanceinsomeminds.Familiar
thingsareabsorbedandbecomeadepositinwhichtheseedsorsparksofnew
conditionssetupaturmoil.Whentheoldhasnotbeenincorporated,the
outcomeismerelyeccentricity.Butgreatoriginalartiststakeatraditioninto
themselves.Theyhavenotshunnedbutdigestedit.Thentheveryconflictsetup
betweenitandwhatisnewinthemselvesandintheirenvironmentcreatesthe
tensionthatdemandsanewmodeofexpression.Shakespearemayhavehad
littleLatinandlessGreekbuthewassuchaninsatiabledevourerofaccessible
materialthathewouldhavebeenaplagiaristifthematerialhadnotatonce
antagonizedandco6peratedwithhispersonalvisionbymeansofanequally

insatiablecuriosityconcerningthelifesurroundinghim.Thegreatinnovatorsin
modernpaintingweremoreassiduousstudentsofthepicturesofthepastthan
weretheimitatorswhosetthecontemporaryfashion.Butthematerialsoftheir
personalvisionoperatedtoopposetheoldtraditionsandoutofthereciprocal
conflictandreenforcementcamenewrhythms.
Inthefactsindicatedarethefoundationsofanesthetictheorybasedonart
andnotonextraneouspreconceptions.Theorycanbebased
only
uponan
understandingofthecentralr8leof

160

ARTASEXPERIENCE

energywithinandwithout,andofthatinteractionofenergieswhichinstitutes
oppositionincompanywithaccumulation,conservation,suspenseandinterval,
andcooperativemovementtowardfulfillmentinanordered,orrhythmical
experience.Thentheinwardenergyfindsreleaseinexpressionandtheoutward
embodimentofenergyinmattertakesonform.Herewehaveafullerandmore
explicitcaseofthatrelationbetweendoingandundergoingoforganismand
environmentwhoseproductisanexperience.Therhythmpeculiartodifferent
relationsbetweendoingandundergoingisthesourceofthedistributionand
apportionmentofelementsthatconducestodirectnessandunityofperception.
Lackofproperrelationshipanddistributionproducesaconfusionthatblocks
singlenessofperception.Justrelationshipproducestheexperiencebyvirtueof
whichaworkofartbothexcitesandcomposes.Thedoingstirswhile,undergone
consequencesbringaphaseoftranquillity.Athoroughandrelatedundergoing
effectsanaccumulationofenergythatisthesourceoffurtherdischargein
activity.Theresultingperceptionisorderedandclearandatthesametime
emotionallytoned.
Itispossibletoexaggeratethequalityofserenityinart.Thereisnoart
withoutthecomposurethatcorrespondstodesignandcompositionintheobject.
Butthereisalsononewithoutresistance,tension,andexcitementotherwisethe
calminducedisnotoneoffulfillment.Inconception,thingsaredistinguishedthat
inperceptionandemotionbelongtogether.Thedistinctions,whichbecome
antithesesinphilosophicreflection,ofsensuousandideal,surfaceandcontent
ormeaning,ofexcitementandcalm,donotexistinworksofartandtheyarenot
theremerelybecauseconceptualoppositionshavebeenovercomebutbecause

theworkofartexistsatalevelofexperienceinwhichthesedistinctionsof
reflectivethoughthavenotarisen.Fromvarietyexcitementmayoccur,butin
merevarietytherearenoresistancestobeovercomeandbroughttoapause.
Thereisnothingmorediversethanfurniturescatteredaboutasidewalkwaiting
forthemovingvan.Yetorderandserenitydonotemergewhenthesethingsare
forcedtogetherinthevan.Theymustbedistributedinrelationtooneanotheras
inthefurnishingofaroomtocomposeawhole.Cooperationofdistributionand
unificationbringaboutthatmovementofchangewhichexcitesandthefulfillment
whichcalms.

THENATURALHISTORYOFFORM

161

Thereisanoldformulaforbeautyinnatureandart:
Unityinvariety.Everythingdependsuponhowtheprepositioninis
understood.Theremaybemanyarticlesinabox,manyfiguresinasingle
painting,manycoinsinonepocket,andmanydocumentsinasafe.Theunityis
extraneousandthemanyareunrelated.Thesignificantpointisthatunityand
manynessarealwaysofthissortorapproximateitwhentheunityoftheobjector
sceneismorphologicalandstatic.Theformulahasmeaningonlywhenitsterms
areunderstoodtoconcernarelationofenergies.Thereisnofullness,nomany
parts,withoutdistinctivedifferentiations.Buttheyhaveestheticquality,asinthe
richnessofamusicalphrase,onlywhendistinctionsdependuponreciprocal
resistances.Thereisunityonlywhentheresistancescreateasuspensethatis
resolvedthroughco5perativeinteractionoftheopposedenergies.Theoneof
theformulaistherealizationthroughinteractingpartsoftheirrespective
energies.Themanyisthemanifestationofthedefinedindividualizationsdueto
opposedforcesthatfinallysustainabalance.Thusthenextthemeisthe
organizationofenergiesinaworkofart.Fortheunityinvarietythat
characterizesaworkofartisdynamic.

CHAPTERVIII
THEORGANIZATIONOFENERGIES

I
Thasbeenrepeatedlyintimatedthatthereisadifferencebetweentheart
product(statue,paintingorwhatever),andthe
work
ofart.Thefirstisphysical
andpotentialthelatterisactiveandexperienced.Itiswhattheproductdoes,its
working.Fornothingentersexperiencebaldandunaccompanied,whetheritbea
seeminglyformlesshappening,athemeintellectuallysystematized,oranobject
elaboratedwitheverylovingcareofunitedthoughtandemotion.Itsvery
entranceisthebeginningofacomplexinteractionuponthenatureofthis
interactiondependsthecharacterofthethingasfinallyexperienced.Whenthe
structureoftheobjectissuchthatitsforceinteractshappily(butnoteasily)with
theenergiesthatissuefromtheexperienceitselfwhentheirmutualaffinitiesand
antagonismsworktogethertobringaboutasubstancethatdevelops
cumulativelyandsurely(butnottoosteadily)towardafulfillingofimpulsionsand
tensions,thenindeedthereisaworkofart.
Inthepreviouschapter,Iemphasizedthedependenceofthisfinalworkupon
theexistenceofrhythmsinnatureasIpointedout,theyaretheconditionsof
forminexperienceandhenceofexpression.Butanestheticexperience,the
workofartinitsactuality,is
perception.
Onlyastheserhythms,evenifembodied
inanouterobjectthatisitselfaproductofart,becomearhythminexperience
itselfaretheyesthetic.Andthisrhythminwhatisexperiencedissomethingquite
differentfromintellectualrecognitionthatthereisrhythmintheexternalthing:
asdifferentasistheperceptualenjoymentofglowingharmoniouscolorsfrom
themathematicalequationsthatdefinethemforascientificinquirer.

Ibeginbyapplyingthisconsiderationtogetridofafalsenotionofrhythmthat
has,somehow,seriouslyinfectedesthetic
162

THEORGANIZATIONOFENERGIES 163

theory.Forthemisconceptionspringsfromfailuretotakeintoaccountthefact
thatestheticrhythmisamatterofperceptionandthereforeincludeswhateveris
contributedbytheselfintheactiveprocessofperceiving.Andstrangelyenough
themisconceptioninquestionexistssidebysidewithstatementsthatesthetic
experienceisanaffairofimmediacyofperception.ThenotionIrefertoidentifies
rhythmwithregularityofrecurrenceamidchangingelements.
Beforedealingdirectlywiththisconception,Iwanttopointoutitseffectupon
understandingart.Theorderoftheelementsofspatialobjects
as
spatialand
physical,thatisapartfromtheirentranceintothatinteractionwhichcausesan
experience,is,comparativelyatleast,fixed.Asidefromaslowprocessof
weathering,thelinesandplanesofastatuestaythesame,andsodothe
configurationsandintervalsofabuilding.Fromthisfactisderivedtheconclusion
thattherearetwokindsoffinearts,thespatialandthetemporal,andthatonly
thelatteraremarkedbyrhythm:thecounterpartofthiserrorbeingthatonly
buildingsandstatuespossesssymmetry.Themistakewouldbeseriousifit
affectedonlytheory.Infactdenialofrhythmtopicturesandbuildingsobstructs
perceptionofqualitiesthatareabsolutelyindispensableintheirestheticeffect.
Theidentificationofrhythmwithliteralrecurrence,withregularreturnof
identicalelements,conceivesofrecurrencestaticallyoranatomicallyinsteadof
functionallyforthelatterinterpretsrecurrenceonthebasisoffurtherance,
throughtheenergyoftheelements,ofacompleteandconsummatory
experience.Sinceafavoriteillustrationofthosewhoholdthetheoryistheticking
ofadock,itmaybecalledtheticktacktheory.Althoughitshouldbeevident
uponamomentsreflectionthatifitwerepossibletoexperienceauniformseries

ofticktocks,theeffectwouldbeeithertoputustosleeporgoadusto
exasperation,yettheconceptionofsuchregularityistakenasfurnishingthe
groundplan,whichisthensupposedtobecomplicatedbythesuperimpositionof
anumberofotherrhythms,eachequallyregularinitself.Ofcourse,itmaybe
possibletoanalyzemathematicallyanactuallyexperiencedrhythmintoa
combinationofabasicregularityoverlaidwithanumberofminoruniform
repetitions.Buttheresultisonlyamechanicalapproximationtoany

164

ARTASEXPERIENCE

vitalorexpressiverhythm.Itissimilartotheoutcomeofattemptstoconstruct
estheticallysatisfactorycurvedlines(likethoseofaGreekvase)outofthe
combinationofanumberofcurves,eachofwhichisconstructedaccordingto
rigidmathematicalcalculation.
Aninvestigatorundertookwiththeaidofarecordinginstrumentaninquiry
intothevoicesofsingers.Itwasfoundthatthevoicesofaccomplishedartists,
thoseratedassuperior,wereregisteredinlinesslightlyaboveorslightlybelow
thelineswhichstoodforexactpitch,whilesingersstillintrainingweremuch
morelikelytoproducesoundsthatcoincidedexactlywiththeregistersofexact
intervals.Theinvestigatorremarkedthattheartistsalwaystooklibertieswith
music.Infacttheselibertiesmarkthedifferencebetweenmechanicalorpurely
objectiveconstructionandartisticproduction.Forrhythminvolvesconstant
variation.Inthedefinitionthatwasgivenofrhythmasorderedvariationof
manifestationofenergy,variationisnotonlyasimportantasorder,butitisan
indispensablecoefficientofestheticorder.Thegreaterthevariation,themore
interestingtheeffect,providedorderismaintainedafactthatprovesthatthe
orderinquestionisnottobestatedintermsofobjectiveregularitiesbutrequires
anotherprincipleforitsinterpretation.Thisprinciple,oncemore,isthatof
cumulativeprogressiontowardthefulfillmentofanexperienceintermsofthe
integrityoftheexperienceitselfsomethingnottobemeasuredinexternal
terms,thoughnotattainablewithouttheuseofexternalmaterials,observedor
imagined.

Imayillustratebyasomewhatarbitrarilyselectedportionofverse,purposely
takingthatwhich,althoughinteresting,isnotofthehighestorder.Somelines
fromWordsworthsPreludewillservethepurpose:

...thewindandsleetyrain,
Andallthebusinessoftheelements,
Thesinglesheep,andtheoneblastedtree,
Andthebleakmusicfromthatoldstonewall,
Thenoiseofwoodandwater,andthemist
Thatonthelineofeachofthesetworoads
Advancedinsuchindisputableshapes.

THEORGANIZATIONOFENERGIES 165

Thereisalwayssomethingstupidaboutturningpoetryintoaprosethatis
supposedtoexplainthemeaningofthepoetry.Butmypurposehereingivinga
prosaicanalysisisnottoexplainthelinesbuttoenforceapointoftheory.Sowe
noticethat,inthefirstplace,thereisnotawordthatrepeatsthekindoffixed
significancethatmightbesetforthinadictionary.Themeaningofwind,rain,
sheep,tree,stonewall,mistisafunctionofthewholesituationexpressed,and
henceisavariableof
that
situationandnotanexternalconstant.Thesamething
istrueoftheadjectives:sleety,single,blasted,bleak,indisputable.Theirsenseis
determinedbytheindividualexperienceofdesolationthatisbuildingeach
contributesafurtheranceofitsrealization,whileeachinturnisqualifiedbythe
experienceintotheconstructionofwhichitentersasanenergizingfactor.Then
thereisthe
varia
tioninobjects,somerelativelymotionlesssetoveragainst
thoseinmotionthingsseenandthingsheard,rainandwindwallandmusic
treeandnoise.Thenthereistherelativelyslowpaceaslongas
objects
dominate,changingtoanacceleratedpacewith
events,
withthenoiseofwood
andwater,culminatinginthepushoftherelentlesslyadvancingmist.Itisthis
variationaffectingeverydetailthatmakesthedifferencebetweensuchverses
andaseesawcouplet.Yetorderismaintained,notthatindeedofrepetitionin
substanceorinform,butactively,sinceeachelementcarriesforwardthe
buildingupofanintegrallyexperiencedsituation,buildingitupwithoutwaste,
andwithoutincongruitiesthatclashanddestroy.Order,forestheticpurposes,is
definedandmeasuredbyfunctionalandoperativetraits.
Contrasttheselineswith,say,somegospelhymnfromwhoseliltandswing
thousandshaveobtainedarudimentaryestheticsatisfaction.Therelatively

externalandphysicalcharacterofthelatterismanifestinthetendencyto
respondwithaphysicalkeepingoftimethepovertyofthesentimentisdueto
thecomparativeuniformityofbothmatteranditstreatment.Eveninaballad,
refrainsdonothaveinexperiencetheuniformitytheyhaveinisolation.Foras
theyenterintochangingcontextstheyhaveavaryingeffectthatcarriesona
cumulative
conservation.Itispossibleforanartisttoemploysomethingthatis
externallysheerrepetitiontoconveyasenseofinexorablefate.Buttheeffect
dependsuponasummationthatismorethan

166

ARTASEXPERIENCE

quantitativeaddition.Thusinmusicarepeatedphrase,perhapstheone
thrownatusatthebeginningofasymphony,gainsforcebecausethenew
contextsinwhichitisfound,coloritandgiveitanewvalue,evenifonlythatofa
moreinsistent,preciseandcumulativeenunciationofatheme.
Thereis,ofcourse,norhythmwithoutrecurrence.Butthereflectiveanalysis
ofphysicalscienceissubstitutedfortheexperienceofartwhenrecurrenceis
interpretedasliteralrepetition,whetherofmaterialorexactinterval.Mechanical
recurrenceisthatofmaterialunits.Estheticrecurrenceisthatof
relationships
thatsumupandcarryforward.Recurringunitsassuchcallattentionto
themselvesasisolatedparts,andthusawayfromthewhole.Hencetheylessen
estheticeffect.Recurring
relationships
servetodefineanddelimitparts,giving
themindividualityoftheirown.Buttheyalsoconnecttheindividualentitiesthey
markoffdemand,
because
oftherelations,associationandinteractionwithother
individuals.Thusthepartsvitallyserveintheconstructionofanexpandedwhole.
Thebeatofthedrumofthesavagehasalsobeenheldupasthemodelof
rhythm,sothattheticktocktheorybecomesthetomtomtheory.Here,too,it
isheldthatasimple,rathermonotonous,repetitionofbeatsisthestandard,and
thatitisvariedbytheadditionofotherrhythmseachofwhichisitselfuniform,
whilepiquancyisintroducedbytheuseofarythmicchange.Unfortunatelyforthe
supposedobjectivebasisofthetheory,tomtombeatsdonotoccuralone,butas
factorsinamuchmorecomplexwholeofvariedsinginganddancing.And
insteadofrepetitionthereisadevelopment,aworkinguptogreaterpitchesof
excitement,perhapsafrenzy,thathasbegunwithrelativeslowandcalm
movements.Whatisevenmoreimportant,thehistoryofmusicshowsthatinfact

theprimitiverhythms,likethoseoftheAfricannegro,aremoresubtlyvaried,less
uniform,thanthoseofthemusicofcivilizedfolk,justasthoseofnorthern
negroesintheUnitedStatesareusuallymoreconventionalizedthanthoseofthe
south.Theexigenciesofpartmusicandthepotentialitiesofharmonyhave
operatedtoreducetogreateruniformitythatphaseofrhythmthatconsistsin
directvariationsofintensity,whilethetheoryinquestiondemandsareverse
movement.

THEORGANIZATIONOFENERGIES 167

Thelivecreaturedemandsorderinhislivingbuthealsodemandsnovelty.
Confusionisdispleasingbutsoisennui.Thetouchofdisorderthatlendscharm
toaregularsceneisdisorderlyonlyfromsomeexternalstandard.Fromthe
standpointofactualexperienceitaddsemphasis,distinction,aslongasitdoes
notpreventacumulativecarryingforwardfromoneparttoanother.Ifitwere
experienced
as
disorderitwouldproduceanunresolvedclashandbe
displeasing.Atemporaryclash,ontheotherhand,maybethefactorof
resistancethatsummonsupenergytoproceedthemoreactivelyand
triumphantly.Onlypersonswhohavebeenspoiledinearlylifelikethingsalways
softpersonsofvigorwhoprefertoliveandwhoarenotcontentedwith
subsistingfindthetooeasyrepulsive.Thedifficultbecomesobjectionableonly
wheninsteadofchallengingenergyitoverwhelmsandblocksit.Someesthetic
productshaveanimmediatevoguetheyarethebestsellersoftheirday.They
areeasy"andthusmakeaquickappealtheirpopularitycallsoutimitators,and
theysetthefashioninplaysornovelsorsongsforatime.Buttheirveryready
assimilationintoexperienceexhauststhemquicklynonewstimulusisderived
fromthem.Theyhavetheirdayandonlyaday.
Compareapictureby,say,WhistlerwithonebyRenoir.Intheformerin
mostcasestherewillbefoundconsiderablestretchesofcolorasnearlyuniform
asmaybe.Rhythms,withtheirnecessaryfactorsofcontrast,areconstitutedonly
bytheoppositionoflargeblocks.OnonlyasquareinchofapaintingbyRenoir
therewillbefoundnotwocontiguouslinesofexactlythesamequality.Wemay
notbeconsciousofthisfactaswelookatthepicture,butweareconsciousofits
effect.Itcontributestotheimmediaterichnessofthewhole,anditprovidesthe

conditionsfornewstimulationofnewresponsesuponeverysubsequent
approach.Thiselementofcontinualvariationprovideddynamicrelationsof
reenforcement,andconservationaremetiswhatmakesapictureoranywork
ofartwear.
Whatistrueinthelargeistrueinthesmall.Repetitionofuniformunitsat
uniformintervalsisnotonlynotrhythmicbutisopposedtotheexperienceof
rhythm.Acheckerboardeffectismorepleasingthanalargeblankspaceorthan
onefilledwithlinesthatwanderatrandomandthatinsteadofdefiningfigures

168

ARTASEXPERIENCE

interferewiththecarryingforwardofvision.Forexperienceofthecheckered
arrangementisnotsoregularasistheobjecttakenphysicallyandgeometrically.
Astheeyemovesittakesinnewandreenforcingsurfaces,andcareful
observationwillshowthatnewpatternsarealmostautomaticallyconstructed.
Thesquaresrunnowvertically,nowhorizontally,nowinonediagonal,nowinthe
otherandthesmallersquaresconstructnotonlylargersquaresbutalso
rectanglesandfigureshavingstairlikeoutlines.Theorganicdemandforvariety
issuchthatitisenforcedinexperience,evenwithoutmuchexternaloccasion.
Eventheticktockoftheclockasitisheardvaries,becausewhatis
heard
isan
interactionofthephysicaleventwithchangingpulsationsoforganicresponse.
Theoftenmadecomparisonofmusicandarchitecturerestsuponthefactthat
thesearts,moredirectlythanothers,exemplifyorganicrecurrenceseffectedby
cumulativerelationshipsratherthanbyrepetitionofunits.Theestheticvulgarity
ofmanyofouredifices,especiallyofthosethatlineAmericancitystreets,isdue
tothemonotonycausedbyregularrepetitionofforms,uniformlyspaced,the
architectdependingonlyuponadventitiousornamentationforvariety.Aneven
morestrikingexampleisfoundinourterriblecivilwarmonumentsandmuchof
ourmunicipalstatuary.
Ihavesaidthattheorganismcravesvarietyaswellasorder.Thestatement,
however,istooweakforitsetsforthasecondarypropertyratherthanthe
primaryfact.Theprocessoforganiclife
is
variation.InwordswhichWilliam
Jamesoftenquoted,itmarksaninstanceofever,notquite.Cravingassuch
arisesonlywhenthisnaturaltendencyisblockedbyuntowardcircumstance,by
themonotonyofexcesspovertyorexcessluxury.Everymovementofexperience

incompletingitselfrecurstoitsbeginning,sinceitisasatisfactionofthe
promptinginitialneed.Buttherecurrenceiswithadifferenceitischargedwith
allthedifferencesthejourneyoutandawayfromthebeginninghasmade.For
randomsamples,takethereturnaftermanyyearstochildhoodshomethe
propositionthatisprovedthroughacourseofreasoningandthepropositionas
firstenunciatedthemeetingwithanoldfriendafterseparationtherecurrenceof
aphraseinmusicofarefraininpoetry.
Demandforvarietyisthemanifestationofthefactthat

THEORGANIZATIONOFENERGIES 169

beingaliveweseektolive,untilwearecowedbyfearordulledbyroutine.
Theneedoflifeitselfpushesusoutintotheunknown.Thisistheabidingtruthof
romance.Itmaydegenerateintoformlessindulgenceinmotionandexcitement
foritsownsake,andbeexpressedinpseudoromanticism.Butvocalclassicism,
thatwhichpreachesratherthanenactsasdoesthatwhichgenuinely
becomes
classic,isalwaysbasedonfearoflifeandretractionfromitsexigenciesand
challenges.Theromanticwhenorderedbyappropriaterhythmbecomesclassic,
whenevertheadventureundertakenisofscopesufficienttotestaswellasevoke
theenergiesofmen:TheIliadandOdysseyareperennialwitnesses.Rhythm
isrationalityamongqualities.Theholdofthelowestorderofrhythmuponthe
uncultivatedshowsthatsomeorderisdesiredinthestirofexistence.Andeven
theequationsofmathematiciansareevidencethatvariationisdesiredinthe
midstofmaximumrepetition,sincetheyexpressequivalences,notexact
identities.
Estheticrecurrenceinshortisvital,physiological,functional.Relationships
ratherthanelementsrecur,andtheyrecurindifferingcontextsandwithdifferent
consequencessothateachrecurrenceisnovelaswellasareminder.In
satisfyinganarousedexpectancy,italsoinstitutesanewlonging,incitesafresh
curiosity,establishesachangedsuspense.Thecompletenessoftheintegration
ofthesetwooffices,opposedastheyareinabstractconception,bythe
same
meansinsteadofbyusingonedevicetoarouseenergyandanothertobringitto
rest,measuresartistryofproductionandperception.Awellconductedscientific
inquirydiscoversasittests,andprovesasitexploresitdoessoinvirtueofa
methodwhichcombinesbothfunctions.Andconversation,drama,novel,and

architecturalconstruction,ifthereisanorderedexperience,reachastagethatat
oncerecordsandsumsupthevalueofwhatprecedes,andevokesand
prophesieswhatistocome.Everyclosureisanawakening,andevery
awakeningsettlessomething.Thisstateofaffairsdefinesorganizationofenergy.
Insistenceuponvariationinrhythmmayseemtobealaboringoftheobvious.
Myexcuseisnotonlythatinfluentialtheorieshaveslightedthisproperty,butthat
thereisatendencytolimitrhythmtosomeonephaseofanartproduct:for
instance.

170

ARTASEXPERIENCE

totempoinmusic,linesinpainting,meterinpoetrytoflattenedorsmooth
curvesinsculpture.Suchlimitationalwaystendsinthedirectionofwhat
Bosanquetcalledeasybeauty,andwhencarriedthroughlogically,whetherin
theoryorpractice,resultsinsomematterbeingleftwithoutformandsomeform
beingarbitrarilyimposeduponmatter.
IntheSpringandBirthofVenusofBotticelli,thecharmofarabesquesand
lineinrhythmicpatternsiseasilyfelt.Itscharmmayeasilyseduceaspectator
intomakingthisphaseofrhythm,moreunconsciouslythanexplicitly,astandard
ofjudgmentforexperienceofotherpaintings.Itwillthenresultinan
overestimationofBotticelliincomparisonwithotherpainters.Thisinitselfisa
minormatter,sinceitisbettertobesensitivetooneaspectofformthantojudge
picturesmerelyasillustrations.Whatismoreimportantisthatittendstocreate
insensitivenesstowaysofachievingrhythmsthatareatoncemoresolidand
moresubtle:suchasrelationsofplanes,ofmasses,ofcolorsnotsharply
delineated.Again,theadequacyofGreeksculptureasameansofexpressing
thehumanfigurethroughtheuseofflattenedorroundedplanesisworththe
admirationcalledforthbythestatuesofPheidias.Butitisnotwellwhenthis
particularrhythmicmodeissetupasthesolestandard.Thenperceptionis
obscuredofwhatischaracteristicofthebestinEgyptiansculpture,obtainedby
relationoflargermasses,ofnegrosculpturewithitssharpangularities,ofworks
likeEpsteinsthatdependsolargelyuponrhythmsoflightobtainedbycontinually
brokensurfaces.
Thesameinstancesexemplifytheseparationofsubstanceandformthat
resultswhenrhythmislimitedtovariationandrecurrenceinasinglefeature.

Familiarideas,standardizedmoralcounsels,themesofconventionalromance
liketheloveofaDarbyforsomeJoan,theestablishedcharmofobjectssuchas
roseandlily,aremademorepleasingwhenclothedinrhymeandpunctuated
withmetricalswing.Butinsuchcasesweare,attheend,onlyremindedinan
agreeableway,occasioningatemporarytitillationofpleasure,ofwhatwehave
alreadyexperienced.Whenallmaterialsareinterpenetratedbyrhythm,the
themeorsubjectistransformedintoanewsubjectmatter.Thereisthatsudden
magicwhichgivesusthesenseofaninnerrevelation

THEORGANIZATIONOFENERGIES 171

broughttousaboutsomethingwehadsupposedtobeknownthroughand
through.Inshort,thereciprocalinterpretationofpartsandwhole,whichwehave
seentoconstituteanobjectaworkofart,iseffectedwhenalltheconstituentsof
thework,whetherpicture,drama,poemorbuilding,standinrhythmicconnection
withallothermembersofthesamekindlinewithline,colorwithcolor,space
withspace,illuminationwithlightandshadeinapaintingandallofthese
distinctivefactorsreenforceoneanotherasvariationsthatbuildupanintegrated
complexexperience.Itwouldbepedanticaswellasungeneroustodenyall
estheticqualitytoanobjectthatismarkedinsomeonerespectbyrhythmsthat
consolidateandorganizetheenergiesinvolvedinhavinganexperience.Butthe
objectivemeasureofgreatnessispreciselythevarietyandscopeoffactors
which,inbeingrhythmiceachtoeach,stillcumulativelyconserveandpromote
oneanotherinbuildinguptheactualexperience.
Anattempthasbeenmadetosupportthedistinctionbetweensubstanceand
forminworksofartbycontrastingfinenesswithgreatness.Artisfine,itis
said,whenformisperfectedbutitisgreatbecauseoftheintrinsicscopeand
weightofthesubjectmatterdealtwith,eventhoughthemannerofdealingwithit
islessfine.ThenovelsofJaneAustenandofSirWalterScotthavebeenusedto
illustratetheallegeddistinction.Icannotfindthatitisvalid,
if
thenovelsofScott
aregreaterinscopeandamplitudethanthoseofMissAusten,althoughlessfine,
itisbecause,whilenoonephaseofthemeansemployediscarriedthroughas
perfectlyasintheonemediuminwhichJaneAustenexcels,thereisawider
rangeofsubjectmatterinwhichsomedegreeofformisattained.Itisnota
questionofformversussubjectmatterbutofthenumberofkindsofcoworking

formalrelationships.Aclearpool,agem,aminiature,anilluminatedmanuscript,
ashortstoryhavetheirownperfection,eachafteritskind.Thesinglequalitythat
dominatesineachmaybecarriedthroughmoreadequatelythanisanysingle
systemofrelationsinobjectsofgreaterscopeandcomplexity.Butthe
multiplicationofeffectsinthelatter,whentheyconducetoanunifiedexperience,
makesthelattergreater.
Whenitisamatteroftechnology,domesticeconomy,orsocialpolity,wedo
nothavetobetoldthatrationality,intelligi

172

ARTASEXPERIENCE

bility,ismeasuredbyorderlycoadaptationofmeansmovingtowarda
commonend.Absurdityismutualnullificationcarriedto
its
completion,becoming
estheticorfunnywhensuccessfullyexecuted.Weareaware,ina
correspondingway,thatamanspracticalabilityisdeterminedbyhiscapacityto
mobilizeavarietyofmeansandmeasurestoaccomplishalargeresultwiththe
maximumofeconomyandthateconomybecomesestheticallyunpleasantwhen
itisforceduponattentionasaseparatefactor,whilescopeofmeansis
magnificent,notsillydisplay,whenthereisacorrespondingextensiveresult.So
too,weareawarethatthinkingconsistsinorderingavarietyofmeaningssothat
theymovetoaconclusionthatallsupportandinwhichallaresummedupand
conserved.Whatweperhapsarelesscognizantofisthatthisorganizationof
energiestomovecumulativelytoaterminalwholeinwhichthevaluesofall
meansandmediaareincorporatedistheessenceoffineart.
Inthepracticeandreasoningofordinarylife,organizationislessdirect,and
thesenseoftheconclusionorconsummationcomes,comparativelyatleast,only
attheend,insteadofbeingcarriedateverystage.Thispostponementofthe
senseofcompletion,thislackofthepresenceofcontinuousperfecting,reacts,of
course,toreducemeansusedtothestateof
mere
means.Theyare
indispensableantecedentconditions,buttheyarenotintrinsicconstituentsofthe
end.Insuchcases,inotherwords,organizationofenergiesispiecemeal,one
replacinganother,whileintheartisticprocessitiscumulatingandconserving.
Andthuswearebroughtagaintorhythm.Forwhenevereachstepforwardisat
thesametimeasummingupandfulfillmentofwhatprecedes,andevery
consummationcarriesexpectationtenselyforward,thereisrhythm.

Inordinarylife,muchofourpressingforwardisimpelledbyoutside
necessities,insteadofanonwardmotionlikethatofwavesofthesea.Similarly,
muchofourrestingisrecuperationfromexhaustionit,too,iscompelledby
somethingexternal.Inrhythmicordering,everycloseandpause,liketherestin
music,connectsaswellasdelimitsandindividualizes.Apauseinmusicisnota
blank,butisarhythmicsilencethatpunctuateswhatisdonewhileatthesame
timeitconveysanimpulsionforward,insteadofarrestingatthepointwhichit
defines.Inlook

THEORGANIZATIONOFENERGIES 173

ingatapictureorreadingapoemordrama,wesometimestakethesame
featureinitsdefiningandclosingquality,sometimesinitstransitiveoffice.
Normally,thewaywetakeitdependsuponthedirectionofourinterestatthat
particularpointinourexperience.Butthereareartproductsinwhichanelement
insistsuponbeingtakeninonlyoneway.Thenthereisthekindofrestrictionthat
isfoundinpaintingbytheexaggerationoflineintheFlorentineschooloflightin
Leonardo,andinRaphaelundertheinfluenceofLeonardoofatmosphereinthe
thoroughgoingimpressionists.Toachieveanexactbalanceofmergingsthat
carryforwardandpausesthataccentuateanddefineisextremelydifficult,and
wecanderivegenuineestheticsatisfactionfromobjectsinwhichitisnot
accomplished.Butorganizationofenergyisnonethelesspartialinsuchcases.
Theactiveasdistinctfrommorphologicalcharacteroftherhythmofactsand
undergoings,ofdefiningrestsandforwardimpulsions,ismadeclearinartbythe
factthattheartistusesthatwhichisusuallyfounduglytogetestheticeffect
colorsthatclash,soundsthatarediscordant,cacophoniesinpoetry,seemingly
darkandobscureplacesorevensheerblanksasinMatisse
inpainting.Itisthewaythethingisrelatedthatcounts.Thefamiliar
instanceofShakespearesemployingthecomicinthemidstoftragedyisin
point.Itdoesmorethanrelievestrainonthepartofthespectator.Ithasamore
intrinsicofficeinthatitpunctuatestragicquality.Anyproductwhosequalityisnot
oftheveryeasysortexhibitsdislocationsanddissociationsofwhatisusually
connected.Thedistortionfoundinpaintingsservestheneedofsomeparticular
rhythm.Butitdoesmore.Itbringstodefiniteperceptionvaluesthatare
concealedinordinaryexperiencebecauseofhabituation.Ordinary

prepossessionmustbebrokenthroughifthedegreeofenergyrequiredforan
estheticexperienceistobeevoked.
Unfortunately,inwritinguponesthetictheoryoneiscompelledtospeakin
generalizedtermsbecauseitisimpossibletopresenttheworkinwhichthe
materialexistsinitsindividualizedform.ButIshallengageinaschematic
illustrationdrawnfromanactualpainting.*InlookingatthisparticularobjectI
havein
*BarnesTheArtinPainting,FrenchPrimitivesandTheirForms,andThe
ArtofHenriMatisse,givemanydetailedanalysesofpictures.

174

ARTASEXPERIENCE

mind,attentionisfirstcaughtbytheobjectsinwhichmassespointupward:
thefirstimpressionisthatofmovementfrombelowtoabove.Thisstatement
doesnotmeanthatthespectatorisexplicitlyconsciousofverticallydirect
rhythms,butthat,ifhestopstoanalyze,hefindsthatthefirstanddominant
impressionisdeterminedbypatternssoconstitutedbyrhythms.Meantimethe
eyeisalsomovingacrossthepicturethoughtheinterestremainsinpatternsthat
rise.Thenthereisahalt,anarrest,apunctuatingpauseasvisioncomesinthe
oppositelowercorneruponadefinitemassthatinsteadoffittingintothevertical
patternstransfersattentiontotheweightofhorizontallydisposedmasses.Were
thepicturebadlycomposed,thevariationwouldoperateasadisturbing
interruption,abreakinexperienceinsteadofasaredirectionofinterestand
attention,thusexpandingthesignificanceoftheobject.Asitis,thecloseofone
phaseofordergivesanewsettoexpectancyandthisisfulfilledasvisiontravels
back,byaseriesofcoloredareasdominantlyhorizontalincharacter.Then,as
thatphaseofperceptioncompletesitself,attentionisdrawntotheordered
variationincolorcharacteristicofthesemasses.Thenasattentionisredirected
totheverticalpatternsatthepointfromwhichwesetoutwemissthedesign
constitutedbycolorvariationandfindattentiondirectedtowardspatialintervals
determinedbyaseriesofrecedingandintertwinedplanes.Theimpressionof
depth,implicitofcourse,inperceptionfromthefirstismadeexplicitbythis
particularrhythmicorder.
Inthebuildingupofthispictorialperception,fourkindsoforganicenergy,
mergedintheoriginaltotalimpression,havebeencalledintospecialintensityof
action,andyettherehasbeennobreakinexperience.Nordoesthestorycease

atthispoint.Asonebecomesmoreawareofthefactorsthatconstitutedepthin
space,asceneinthefardistancestandsout.Thisscene,consideringits
indicateddistance,ischaracterizedbymarkedluminosity.Thenvisionissetto
perceivingmoredefinitelytherhythmsofluminositythatgiveenhancedvalueto
thepictureasawhole.Herearesomefivesystemsofrhythm.Eachofthese,if
furtherexamined,woulddiscloseminorrhythmswithinit.Eachrhythm,majoror
minor,interactswithalltheotherstoengagedifferentsystemsoforganicenergy.
Buttheyalsohavetointeractwith

THEORGANIZATIONOFENERGIES 175

oneanotherinsuchwaysthatenergyisconsistentlyorganizedaswellas
calledforth.Sometimesinanobjectofanewkind,onemeetswithasurprisethat
isdisconcerting.Thishappensh~objectssoeccentricastobeoflittleworthit
alsohappens,upontheirfirstappearance,withworksofhighestheticvalue.It
takestimetodiscernwhethertheshockiscausedbyinherentbreaksinthe
organizationoftheobject,orbylackofpreparationintheperceiver.
Whathasbeensaidmayseemtoexaggeratethetemporalaspectof
perception.Ihave,withoutdoubt,stretchedoutelementsthatareusuallymoreor
lesstelescoped.Butinnocasecantherebe
perceptionofanobject
exceptina
processdevelopingintime.Mereexcitations,yesbutnotanobjectasperceived,
insteadofjustrecognizedasoneofafamiliarkind.Ifourviewoftheworld
consistedofasuccessionofmomentaryglimpses,itwouldbenoviewofthe
world
norofanythinginit.IftheroarandtherushingstreamofNiagarawere
limitedtoaninstantaneousnoiseandpeep,therewouldnotbeperceivedthe
soundorsightofany
object,
muchlessoftheparticularobjectcalledNiagara
Falls.Itwouldnotbegraspedevenasanoise.Norwouldmereisolated
continuationoftheexternalnoisebeatingontheeareffectanythingexcept
increasedconfusion.Nothingisperceivedexceptwhendifferentsensesworkin
relationwithoneanotherexceptwhentheenergyofonecenteris
communicatedtoothers,andthennewmodesofmotorresponsesareincited
whichinturnstirupnewsensoryactivities.Unlessthesevarioussensorymotor
energiesarecoordinatedwithoneanotherthereisnoperceivedsceneorobject.
Butequallythereisnonewhenbyaconditionimpossibletofulfillinfacta
singlesensealoneisoperative.Iftheeyeistheorganprimarilyactive,thenthe

colorqualityisaffectedbyqualitiesofothersensesovertlyactiveinearlier
experiences.Inthiswayitisaffectedwithahistorythereisanobjectwithapast.
Andtheimpulsionofthemotorelementswhichareinvolvedeffectsanextension
intothefuture,sinceitgetsreadyforwhatistocomeandinawaypredictswhat
istohappen.
Thedenialofrhythmtopictures,edifices,andstatues,ortheassertionthatit
isfoundinthemonlymetaphorically,restsuponignoranceoftheinherentnature
ofeveryperception.Of

176

ARTASEXPERIENCE

coursetherearerecognitionsthatarevirtuallyinstantaneous.Buttheseoccur
onlywhen,throughasequenceofpastexperiences,theselfhasbecomeexpert
incertaindirections,beitsimplyinseeingataglancethatacertainobjectisa
tableorthatapaintingisbyaparticularartist,sayManet.Becausepresent
perceptionutilizesanorganizationofenergiesworkedoutseriallyinthepastis
noreasonforeliminatingtemporalqualityfromperception.Andinanycase,ifthe
perceptionisesthetic,aninstantaneousidentificationisonlyitsbeginning.There
isnoinherentestheticvalueinidentifyingapictureassuchandsuch.The
identificationmayarouseattentionandleadtodwellinguponthepaintinginsuch
awaythatpartsandrelationsarecalledouttocomposeawhole.
Wearehardlyconsciousofanythingmetaphoricalwhenwesayofone
pictureorofastorythatitisdead,andofanotherthatithaslife.Toexplainjust
whatwemeanwhenwesaythis,isnoteasy.Yettheconsciousnessthatone
thingislimp,thatanotherhastheheavyinertnessofinanimatethings,while
anotherseemstomovefromwithin,arisesspontaneously.Theremustbe
somethingintheobjectthatinstigatesit.Nowthatwhichmarksoffthelivingfrom
thedeadisnotbustleandado,nordoesapictureliterallymove.Thelivingbeing
ischaracterizedbyhavingapastandapresenthavingthemaspossessionsof
thepresent,notjustexternally.AndIsuggestthatitispreciselywhenweget
fromanartproductthefeelingofdealingwitha
career,
ahistory,perceivedata
particularpointofitsdevelopment,thatwehavetheimpressionoflife.That
whichisdeaddoesnotextendintothepastnorarouseanyinterestinwhatisto
come.

Thecommonelementinallthearts,technologicalanduseful,isorganization
ofenergyasmeansforproducingaresult.Inproductsthatstrikeusasmerely
useful,ouronlyconcerniswithsomethingbeyondthething,andifwearenot
interestedinthatulteriorproductthenweareindifferenttotheobjectitself.Itmay
bepassedoverwithoutourreallyseeingitormaybeidlyinspectedaswelook
casuallyatanycuriositywearetoldisremarkable.Intheestheticobjectthe
objectoperatesasofcourseonehavinganexternalusemayalsodotopull
togetherenergiesthathavebeenseparatelyoccupiedindealingwithmany

THEORGANIZATIONOFENERGIES 177

differentthingsondifferentoccasions,andtogivethemthatparticular
rhythmicorganizationthatwehavecalled(whenthinkingoftheeffectandnotof
themodeofitseffectuation),clarification,intensification,concentration.Energies
thatremaininapotentialstatewithrespecttooneanother,howeveractualof
themselves,evokeandreenforceoneanotherdirectlyforthesakeofthe
experiencethatresults.
Whatistrueoforiginalproductionistrueofappreciativeperception.We
speakofperception
and
itsobject.Butperceptionand
its
objectarebuiltupand
completedinoneandthesamecontinuingoperation.Whatiscalled
the
object,
the
cloud,river,garment,hasimputedtoitanexistenceindependentofanactual
experiencestillmoreisthistrueof
the
carbonmolecule,
the
hydrogenion,the
entitiesofsciencegenerally.Buttheobjectoforbetterinperceptionisnotone
ofakindingeneral,asampleofacloudorriver,butis
this
individualthing
existinghereandnowwithalltheunrepeatableparticularitiesthataccompany
andmarksuchexistences.Initscapacityofobjectofperception,itexistsin
exactlythesameinteractionwithalivingcreaturethatconstitutestheactivityof
perceiving.Nowunderthepressureofexternalcircumstancesorbecauseof
internallaxity,objectsofmostofour
ordinary
perceptionlackcompleteness.
Theyarecutshortwhenthereisrecognitionthatistosaywhentheobjectis
identifiedasoneofakind,orofaspecieswithinthekind.Forsuchrecognition
sufficestoenableustoemploytheobjectforcustomarypurposes.Itisenoughto
knowthatthoseobjectsareraincloudstoinduceustocarryanumbrella.Thefull
perceptualrealizationofjustthe
individual
cloudstheyaremightevengetinthe
wayofutilizingthemasanindexofaspecific,alimited,kindofconduct.Esthetic

perception,ontheotherhand,isanameforafullperceptionanditscorrelative,
anobjectorevent.Suchaperceptionisaccompaniedby,orratherconsistsin,a
releaseofenergyinitspurestformwhich,aswehaveseen,isonethatis
organizedandsorhythmic.
Wedonotneedtofeel,therefore,thatwearespeakingmetaphoricallynor
apologizeforanimismwhenwespeakofapaintingasalive,anditsfigures,as
wellasarchitecturalandsculpturalforms,asmanifestingmovement.The
EntombmentofTitiandoesmorethansuggestthecarryingofdepressed
weight

178

ARTASEXPERIENCE

itconveysorexpressesit.TheballetgirlsofDegasareactuallyontiptoeto
dancethechildreninRenoirspaintingsareintentupontheirreadingorsewing.
InConstable,verdureismoistandinCourbetaglendripsandrocksshinewith
coolwetness.Whenfishesarenotdartingorlazilybalancingthemselves,when
cloudsarenotfloatingorscudding,whentreesarenotreflectinglight,theydo
notevoketheenergyappropriatetorealizationofthefullenergyoftheobject.If
theperceptionisthenekedoutbyreminiscencesorbysentimentalassociations
derivedfromliteratureasisusuallythecaseinpaintingspopularlyregardedas
poeticasimulatedestheticexperienceoccurs.
Paintingsthatseemdeadinwholeorpartarethoseinwhichintervalsmerely
arrest,insteadofalsocarryingforward.Theyareholes,blanks.Whatwecall
deadspotsare,fromthesideofthepercipient,thethingsthatenforceapartialor
frustratedorganizationofoutgoingenergy.Thereareworksofartthatmerely
excite,inwhichactivityisarousedwithoutthecomposureofsatisfaction,without
fulfillmentwithinthetermsofthemedium.Energyisleftwithoutorganization.
Dramasarethenmelodramaticpaintingsofnudesarepornographicthefiction
thatisreadleavesusdiscontentedwiththeworldinwhichweare,alas,
compelledtolivewithouttheopportunityfortheromanticadventureandhigh
heroismsuggestedbythestorybook.Inthosenovels,inwhichcharactersare
thepuppetsoftheirauthors,ourrevulsioncomesfromthefactthatlifeis
pretended,notenacted.Thesimulationoflifebyashowofanimationand
vivacityleavesuswiththesameirritationofincompletionthatfollowscontinued
idlechatter.

Ihaveprobablyseemedtosometohaveexaggeratedtheimportanceof
rhythmattheexpenseofsymmetry.Asfarasexplicitwordsareconcerned,I
havedoneso.Butonlywithrespecttowords.Fortheideaoforganizedenergy
meansthatrhythmandbalancecannotbeseparated,althoughtheymaybe
distinguishedbythought.Puttingitbrieflyandschematically,whenattention
dwellsespeciallyuponthetraitsandaspectsinwhichcompletedorganizationis
displayed,weareespeciallyawareofsymmetry,themeasuringofonethingin
relationtoanother.Symmetryandrhythmarethesamethingfeltwiththe
differenceofemphasisthatisduetoattentiveinterest.When

THEORGANIZATIONOFENERGIES 179

intervalsthatdefinerestandrelativefulfillmentarethetraitsthatespecially
characterizeperception,weareawareofsymmetry.Whenweareconcerned
withmovement,withcomingsandgoingsratherthanarrivals,rhythmstandsout.
Butineverycase,symmetry,sinceitistheequilibriumofcounteractingenergies,
involvesrhythm,whilerhythmoccursonlywhenmovementisspacedbyplaces
ofrest,andhenceinvolvesmeasure.
Ofcourseattimes,thetwofallapartinanartproduct.Butthisfactsignifies
thatitisnotestheticallycomplete,thatontheonehandthereareholes,dead
spots,and,ontheother,unmotivatedandunresolvedexcitations.Inreflective
experienceassuch,ininvestigationcalledforthbyproblematicsituations,there
isarhythmofseekingandfinding,ofreachingoutforatenableconclusionand
comingtowhatisatleastatentativeone.But,asarule,thesephasesaretoo
incidentaltoaffecttheprocesswithconspicuousestheticquality.Whenthey
becomeemphaticandareunifiedwithsubjectmatter,thereisthesamekindof
consciousnessthatthereisinthepresenceofanyartisticconstruction.Inmerely
simulatedandacademicart,ontheotherhand,balancedoesnotcoincidewith
subjectmatterbutisanarbitrarypose,whichinitsisolationfrommovement
becomesintimehighlywearisome.
Theconnectionofintensityandextensityandofbothwithtensionisnota
verbalmatter.Thereisnorhythmsavewherethereisalternationof
compressionsandreleases.Resistancepreventsimmediatedischargeand
accumulatestensionthatrendersenergyintense.Itsreleasefromthisstateof
detentiontakesnecessarilytheformofasequentialspreadingout.Inapicture,
coldandwarmcolors,complementarycolors,lightandshade,upanddown,

backandforwards,rightandleftare,schematicallyspeaking,themeansby
whichthekindofoppositionisbroughtaboutinapicturethatresultsinbalance.
Inearlypaintings,thissymmetryiseffectedmainlybymeansofoppositionsin
positionstorightandleft,orbyanobviousdiagonalarrangement.Nowthereis
energyofpositionand,hence,ineventhesepictures,symmetryisnotmerely
spatial.Butitisweak,asinthesilhouettepicturesofthethirteenthandfourteenth
centurieswhentheimportantfigureisplacedintheexactcenter,andfigures
almostIdenticalwithoneanotherareplacedinnearlyexactlateralcorre

I8O

ARTASEXPERIENCE

spondence.Later,pyramidalformsaredependedupon.Sucharrangements
owemuchoftheirforcetofactorsoutsidethepicture.Stabilityofobjectsis
accomplishedbyremindingusoffamiliarmodessecuringequilibrium.Thusthe
effectofsymmetryinthepictureisassociationalratherthanintrinsic.The
tendencyinpaintinghasbeentothedevelopmentofrelationssuchthatbalance
cannotbetopographicallyindicatedbyselectionofparticularfiguresbutisa
functionofthewholepicture.Thecenterofthepictureisnotspatialbutisthe
focusofinteractingforces.
Thedefinitionofsymmetryinstatictermsistheexactcorrespondentofthe
errorbywhichrhythmisconceivedtoberecurrenceofelements.Balanceis
balancing,amatterofdistributionofweightswithrespecttothewaytheyact
upononeanother.Thetwopansofthescalesbalancewhentheirpushandpull
oneachotherisadjusted.Andscalesexistinactuality(insteadofpotentially)
onlywhentheirpansareoperatingantagonisticallytoeachotherwithreference
toreachinganequilibrium.Sinceestheticobjectsdependuponaprogressively
enactedexperience,thefinalmeasureofbalanceorsymmetryisthecapacityof
thewholetoholdtogetherwithinitselfthegreatestvarietyandscopeofopposed
elements.
Theconnectionofbalancewithstressofweightsisinherent.Workinany
sphereisperformedonlybytheinterworkingofopposedforcesasbythe
antagonisticsystemsofthemuscularframe.Henceeverythingdependsinawork
ofartuponthescaleattemptedthatisthereasonitisbutastepfromthe
sublimetotheridiculous.Thereisnosuchthingasaforcestrongorweak,great
orpetty,initself.Miniaturesandquatrainshavetheirownperfection,andmere

bignessisoffensiveinitsemptypretentiousness.Tosaythatonepartofa
painting,drama,ornovelistooweak,meansthatsomerelatedpartistoo
strongandviceversa.Absolutelyspeaking,nothingisstrongorweakitisthe
wayitworksandisworkedon.Itissometimessurprisinginanarchitecturalvista
toseehowalowbuilding
rightlyplaced
willpulltogethersurroundinghigh
buildingsinsteadofbeingannihilatedbythem.
Thecommonestfaultinworkshavingsomeclaimtobecalledworksofartis
theefforttogetstrengthbyexaggeration

THEORGANIZATIONOFENERGIES 181

ofsomeoneelement.Atfirst,aswithtemporarybestsellersinanyline,there
isanimmediateresponse.Butsuchworksdonotwear.Astimepassesit
becomeseverydaymoreevidentthatwhathadbeentakentobestrength
signifiesweaknessonthepartofcounterbalancingfactors.Nosensuouscharm,
howevergreatinamount,iscloyingifitiscounteractedinrelationtoother
factors.Butinisolationsugarinessisoneofthemostquicklyexhaustedqualities.
Thehemanstyleinliteraturesoonweariesbecauseitisevident(evenifonly
subconsciously)that,inspiteofviolentmovement,norealstrengthisdisplayed,
thecounteractingenergiesbeingonlypasteboardandplasterfigures.The
seemingstrengthofoneelementisattheexpenseofweaknessinother
elements.Eventhesensationalismofanovelorstageplayrefersonlytoalack
ofrelationswhichaffectsthequalityofthewhole,notanyoneincidentinitself.A
critichasobservedofONeillsplaysthattheysufferfromlackofretardations
everythingmovestooquicklyandhencetooeasily,andtheresultisan
overcrowding.Paintersatworkareobligedtoworkhereandthere,notallover
thepictureatonce.Andtheyareawareofthenecessityofkeepingdownthe
parttheyareatworkuponatanyparticulartime.Everywriterhastosolvethe
sameproblem.Unlessitissolved,otherpartsarenotkeptup.Inmostcases
theestheticobjectiontodosesofmoralsandofeconomicorpoliticalpropaganda
inworksofartwillbefounduponanalysistoresideintheoverweighingofcertain
valuesattheexpenseofothersuntil,exceptforthoseinasimilarstateof
onesidedenthusiasm,wearinessratherthanrefreshmentsetsin.
Themanifestationofasingleformofenergyinisolationresultsin
uncoordinatedmovements,thehumanorganismbeing,infact,complex,and

hencerequiringadjustmentofmanyvariedfactors.Thereisagreatdifference
betweenviolenceandintensityofaction.Watchyoungchildrenwhohavethe
intentionofactinginaplay,andasuccessionofunrelatedmovementswillbe
observed.Theygesticulate,tumbleandroll,eachprettymuchonhisown
account,withlittlereferencetowhatothersaredoing.Theactsofeventhesame
childhavelittlesequence.Suchacaseexemplifies,bywayofcontrast,the
artisticrelationbetweenintensityandextension.Becauseenergyisnot
restrainedbyotherelementsthatareatonceantagonisticandcooperative,
action

182

ARTASEXPERIENCE

proceedsbyjerksandspasms.Thereisdiscontinuity.Whereenergyis
renderedtensebyreciprocaloppositions,itunfoldsinorderedextension.The
contrastthatisextremeinthecaseofawellconstructedandwellexecutedplay
setoveragainstachildishscrambleisfoundinlessermeasureinallcasesof
contrastingestheticvalue.Paintings,buildings,poems,novels,allhavedifferent
degreesofvolumenottobeconfusedwithbulk.Theyareestheticallythickand
thin,solidandcrumbling,wellknitandloosejointed.Thispropertyofextension,
ofrelatedvariety,isthekineticphasewhichmarksthereleaseofenergiesthat
arerestrainedinorderedintervalsofrest.Butoncemoretheorderofthese
intervals(thatconstitutethesymmetryofthework)isnotregulatedonthebasis
ofunitsoftimeorspace.Whenitissodetermined,theeffectismechanical,like
theseesawofajinglingrhyme.Inanartproduct,intervalsareregularwhenever
theyaredeterminedbymutualreenforcementofpartswithrespecttotheeffect
ofunityandtotality.Thisiswhatismeantbycallingsymmetrydynamicand
functional.
Inseeingapictureoranedifice,thereisthesamecompressionfrom
accumulationintimethatthereisinhearingmusic,readingapoemornovel,and
seeingadramaenacted.Noworkofartcanbeinstantaneouslyperceived
becausethereisthennoopportunityforconservationandincreaseoftension,
andhencenoneforthatreleaseandunfoldingwhichgivevolumetoaworkof
art.Inmostintellectualwork,inallsavethoseflashesthataredistinctlyesthetic,
wehavetogobackwardswehaveconsciouslytoretracepreviousstepsandto
recalldistinctlyparticularfactsandideas.Gettingaheadinthoughtisdependent
upontheseconsciousexcursionsofmemoryintothepast.Butonlywhen

estheticperceptionisinterrupted(whetherbylapseonthepartofartistor
perceiver)arewecompelledtoturnback,sayinseeingaplayonthestage,to
askourselveswhatwentbeforeinordertogetthethreadofmovement.Whatis
retainedfromthepastisembeddedwithinwhatisnowperceivedandso
embeddedthat,byitscompressionthere,itforcesthemindtostretchforwardto
whatiscoming.Themorethereiscompressedfromthecontinuousseriesof
priorperceptions,thericherthepresentperceptionandthemoreintensethe
forwardimpulsion.Becauseofthedepthofconcentration,thereleaseof
containedmaterialsas

THEORGANIZATIONOFENERGIES 183

itunrollsgivessubsequentexperiencesawiderspanconsistingofalarger
numberofdefinedparticularities:whatIhavecalledtheextensionandvolume
correspondingtotheintensionofenergyduetomultipliedresistances.
Itfollowsthattheseparationofrhythmandsymmetryfromeachotherandthe
divisionoftheartsintotemporalandspatialismorethanamisappliedingenuity.
Itisbasedonaprinciplethatisdestructive,sofarasitisheeded,ofesthetic
understanding.Moreover,ithasnowlostthesupportfromthescientificsideit
wasoncesupposedtohave.Forphysicistshavebeenforcedinvirtueofthe
characteroftheirownsubjectmattertoseethattheirunitsarenotthoseofspace
and
time,butofspacetime.TheartistmadeinactionifnotInconsciousthought
thisbelatedscientificdiscoveryfromtheverybeginning.Forhehasalwaysdealt
perforcewithperceptualinsteadofconceptualmaterial,and,inwhatis
perceived,thespatialandtemporalalwaysgotogether.Itisinterestingtonote
thatthediscoverywasmadeinsciencewhenitwasfoundthattheprocessof
conceptualabstractioncouldnotbecarriedtothepointofexcludingtheactof
observationwithoutdestroyingthepossibilityofverification.
When,therefore,thescientificinquirerwasobligedtotaketheconsequences
oftheactofperceptionintoaccountinconnectionwithhissubjectmatter,he
passedfromspace
and
timetoaunitywhichhecoulddescribeonlyas
spacetime.Hethuscameuponafactthatisexemplifiedineveryordinary
perception.Fortheextensionandvolumeofanobject,itsspatialproperties
cannotbe
directly
experiencedorperceivedinamathematicalinstant,nor
cantemporalpropertiesofeventsbeexperiencedsaveassomeenergydisplays
itselfinanextensiveway.Thustheartistonlydoeswithrespecttothetemporal

andspatialqualitiesofthematerialofperceptionwhathedoeswithrespecttoall
thecontentofordinaryperception.Heselects,intensifies,andconcentratesby
meansofform:rhythmandsymmetrybeingofnecessitytheformthatmaterial
takeswhenitundergoestheclarifyingandorderingoperationsofart.
Apartfromlossofsupposedscientificsanction,theseparationoftemporal
andspatialinthefineartswasalwaysinept.AsCrocehassaid,weare
specifically
(orseparately)conscious

184

ARTASEXPERIENCE

oftemporalsequenceinmusicandpoetry,andofspatialcoexistencein
architectureandpainting,onlywhenwepassfromperceptiontoanalytic
reflection.Thesuppositionthatwedirectlyhearmusicaltonesto
be
intimeand
directlyseecolorsas
being
inspace,readsintoanimmediateexperiencealater
interpretationofitduetoreflection.We
see
intervalsanddirectionsinpictures
andwe
hear
distancesandvolumesinmusic.Ifmovementalonewereperceived
inmusicandrestaloneinpainting,musicwouldbewhollywithoutstructureand
picturesnothingbutdrybones.
Nevertheless,thoughthedistinctionbetweenspatialandtemporalartsis
wronglydrawn,sinceallobjectsofartaremattersofperceptionandperceptionis
notinstantaneous,musicinitsevidenttemporalemphasisillustratesperhaps
betterthananyotherartthesenseinwhichformisthemovingintegrationofan
experience.Inmusic,form,forwhicheventhemusicalhavetofindspatial
languageandwhicheventhemusicaloftenseeasastructure,theformdevelops
withthehearingofthemusic.Anypointinthemusicaldevelopment,thatisto
say,anytone,iswhatitisinthatmusicalobjectorperceptionbyvirtueof
whathasgonebeforeandwhatismusicallyimpingingorprophesied.Amelody
issetbythetonicnote,towhichanexpectancyofreturnissetupasatensionof
attention.Theformofthemusicbecomesforminthecareerofthelistening.
Moreover,anysectionofthemusicandanycrosssectionofithaspreciselythe
balanceandsymmetry,inchordsandharmonies,asapainting,statue,or
building.Amelodyisachorddeployedintime.

THEtermenergyhasbeenusedmanytimesinthisdiscussion.Perhaps
insistenceupontheideaofenergyinconnectionwithfineartseemstosome
mindsoutofplace.Yettherearecertaincommonplacesthatitispropertoutter
inconnectionwithartthatcannotbeintelligibleunlessthefactofenergybe
madecentral:
itspowertomoveandstir,tocalmandtranquillize.Andsurelyeitherrhythm
andbalanceareeithercharactersforeigntoartorelseart,becauseoftheirbasic
role,isonlydefinableasorganizationofenergies.Withrespecttowhatthework
ofartdoestousandforus,Iseebuttwoalternatives.Eitheritoperatesbecause
sometranscendentessence(usuallycalledbeauty)

THEORGANIZATIONOFENERGIES 185

descendsuponexperiencefromwithout,orestheticeffectisduetoarts
uniquetranscriptoftheenergyofthethingsoftheworld.Asbetweenthesetwo
alternatives,Idonotknowhowmereargumentcandeterminethechoice.Butit
issomethingtoknowwhatisinvolvedinmakingthechoice.
Takingmystand,then,upontheconnectionofestheticeffectwithqualitiesof
allexperienceasfarasanyexperienceisunified,Iwouldaskhowartcanbe
expressiveandyetnotbeimitativeorslavishlyrepresentative,savebyselecting
andorderingtheenergiesinvirtueofwhichthingsactuponusandinterestus?If
artisinanysensereproductive,andyetreproducesneitherdetailsnorgeneric
features,itnecessarilyfollowsthatartoperatesbyselectingthosepotenciesin
thingsbywhichanexperience
anyexperiencehassignificanceandvalue.Eliminationgetsridofforces
thatconfuse,distract,anddeaden.Order,rhythmandbalance,simplymeans
thatenergiessignificantforexperienceareactingattheirbest.
Thetermsidealhasbeencheapenedbysentimentalpopularuse,andby
useinphilosophicdiscourseforapologeticpurposestodisguisediscordsand
crueltiesinexistence.Butthereisadefinitesenseinwhichartisidealnamely,
thesensejustindicated.Throughselectionandorganizationthosefeaturesthat
makeanyexperienceworthhavingasanexperiencearepreparedbyartfor
commensurateperception.Theremustbe,inspiteofallindifferenceandhostility
ofnaturetohumaninterests,somecongruityofnaturewithmanorlifecouldnot
exist.Inarttheforcesthatarecongenial,thatsustainnotthisorthatspecialaim
buttheprocessesofenjoyedexperienceitself,aresetfree.Thatreleasegives
themidealquality.Forwhatidealcanmanhonestlyentertainsavetheideaofan

environmentinwhichallthingsconspiretotheperfectingandsustainingofthe
valuesoccasionallyandpartiallyexperienced?
AnEnglishwriter,GalsworthyIthink,hassomewheredefinedartasthe
imaginativeexpressionofenergywhich,throughtechnicalconcretionoffeeling
andperception,tendstoreconciletheindividualwiththeuniversalbyexcitingin
himimpersonalemotion.Energiesthatconstitutetheobjectsandeventsofthe
worldandhencedetermineourexperiencearetheuniversal.Reconciliationis
theattaining,inimmediateunargumentative

186

ARTASEXPERIENCE

form,ofperiodsofharmoniousco6perationofmanandtheworldin
experiencesthatarecomplete.Theresultantemotionisimpersonalbecauseit
isattachednottopersonalfortunebuttotheobjecttotheconstructionofwhich
theselfhassurrendereditselfindevotion.Appreciationisequallyimpersonalin
itsemotionalqualitybecauseitalsoinvolvesconstructionandorganizationof
objectiveenergies.

CHAPTERIX

THECOMMONSUBSTANCEOFTHEARTS

Whatsubjectmatterisappropriateforart?Aretheremawhicharecommon
anduncleanwithrespecttoartistictreatment?Theansweroftheartsthemselves
hasbeensteadilyandprogressivelyinthedirectionofanaffirmativeanswerto
thelastquestion.Yetthereisanenduringtraditionthatinsistsartshouldmake
invidiousdistinctions.Abriefsurveyofthethememayaccordinglyserveasan
introductiontothespecialtopicofthischapter,namely,theaspectsofthematter
ofartthatarecommontoallthearts.
Ihadoccasioninanotherconnectiontorefertothedifferencebetweenthe
popularartsofaperiodandtheofficialarts.Evenwhenfavoredartscameout
fromunderpatronageandcontrolofpriestandruler,thedistinctionofkinds
remainedeventhoughthenameofficialisnolongerafittingdesignation.
Philosophictheoryconcerneditselfonlywiththoseartsthathadthestampand
sealofrecognitionbytheclasshavingsocialstandingandauthority.Populararts
musthaveflourished,buttheyobtainednoliteraryattention.Theywerenot
worthyofmentionintheoreticaldiscussion.Probablytheywerenoteventhought
ofasarts.
Instead,however,ofdealingwiththeearlyformulationofaninvidious
distinctionamongthearts,Ishallselectamodernrepresentative,andthen
indicatebrieflysomeaspectsoftherevoltthathasbrokendownthebarriersonce
setup.SirJoshuaReynoldspresentsuswiththestatementthatsincetheonly
subjectsfitfortreatmentinpaintingarethose
generally
interesting,theyshould
besomeeminentinstanceofheroicactionorheroicsuffering,suchasthe

greateventsofGreekandRomanfableandhistory.Such,too,arethecapital
eventsofScripture.All
187

SI

ARTASEXPERIENCE

thegreatpaintingsofthepast,accordingtohim,belongtothishistorical
school,andhegoesontosaythatuponthisprinciple,theRoman,the
Florentine,theBologneseschoolshaveformedtheirpracticeandbyittheyhave
deservedlyobtainedthehighestpraisetheomissionoftheVenetianand
Flemishschools,sidebysidewiththecommendationoftheeclecticschool,
beingasufficientcommentfromthestrictlyartisticside.Whatwouldhehavesaid
if
hehadbeenabletoanticipatetheballetgirlsofDegas,therailwaycoachesof
Daumieractuallythirdclassortheapples,napkins,andplatesofC6zanne?
Inliteraturethedominanttraditionintheorywassimilar.Itwasconstantly
assertedthatAristotlehadonceforalldelimitedthescopeoftragedy,thehighest
literarymode,bydeclaringthatthemisfortunesofthenobleandthoseinhigh
placewereitspropermaterial,whilethoseofthecommonpeoplewere
intrinsicallyfitforthelessermodeofcomedy.Diderotvirtuallyannounceda
historicrevolutionintheorywhenhesaidtherewasneedforbourgeoistragedies,
andthat,insteadofputtingonthestageonlykingsandprinces,privatepersons
aresubjecttoterriblereverseswhichinspirepityandterror.Andagainheasserts
thatdomestictragedies,althoughhavinganothertoneandactionthanclassic
drama,canhavetheirownsublimityapredictionassuredlyfulfilledbyIbsen.
Atthebeginningofthenineteenthcentury,followingthepenodthatHousman
callsoneofshamorcounterfeitpoetry,versemasqueradingaspoetry,The
LyricalBalladsofWordsworthandColeridgeusheredinarevolution.Oneofthe
principlesthatanimateditsauthorswasstatedbyColeridgeasfoliows:
Oneofthetwocardinalpointsinpoetryconsistsoffaithfuladherencetosuch
charactersandincidentsaswillbefoundineveryvillageanditsvicinitywhen

thereisameditativeandfeelingmindtoseekafterthem,ortonoticethemwhen
theypresentthemselves.IhardlyneedpointoutthatlongbeforeReynoldsday
asimilarrevolutionwaswellalonginpainting.Ittookalongstridewhenthe
Venetiansinadditiontocelebratingthesumptuousnessofthelivesaboutthem
gavenominallyreligiousthemesadistinctlyseculartreatment.Flemishpainters,
inadditiontoDutchgenrepainters,Breugheltheelder,forexample,andFrench
painterslikeChardin,turnedfranklytoordinarythemes.

THECOMMONSUBSTANCEOFTHEARTS199

Paintingofportraitswasextendedfromnobilitytowealthymerchantswiththe
growthofcommerce,andthentomenlessconspicuous.Towardtheendofthe
nineteenthcenturyalllinesweresweptawayasfarasplasticartsareconcerned.
Thenovelhasbeenthegreatinstrumentofeffectingchangeinprose
literature.Itshiftedthecenterofattentionfromthecourttothebourgeoisie,then
tothepoorandthelaborer,andthentothecommonpersonirrespectiveof
station.Rousseauowesmostofhispermanentenormousinfluenceinthefieldof
literaturetohisimaginativeexcitementabout
lepeupW
certainlymoretothat
causethantohisformaltheories.Thepartplayedbyfolkmusic,especiallyin
Poland,Bohemia,andGermany,intheexpansionandrenewalofmusicistoo
wellknowntorequire.morethannotice.Evenarchitecture,themost
conservativeofallthearts,hasfelttheinfluenceofatransformationsimilarto
thattheotherartshaveundergone.Railwaystations,bankbuildingsand
postoffices,evenchurches,arenolongerexclusivelybuiltasimitationsofGreek
templesandmedievalcathedrals.Theartofestablishedordershasbeen
influencedasmuchbyrevoltagainstfixationinsocialclassesasbytechnological
developmentsincementandsteel.
Thisbriefsketchhasonlyonepurpose:toindicatethat,inspiteofformal
theoryandcanonsofcriticism,therehastakenplaceoneofthoserevolutions
thatdonotgobackward.Impulsionbeyondalllimitsthatareexternallyset
inheresintheverynatureoftheartistswork.Itbelongstotheverycharacterof
thecreativemindtoreachoutandseizeanymaterialthatstirsitsothatthsvalue
ofthatmaterialmaybepressedoutandbecomethematterofanewexperience.
Refusaltoacknowledgetheboundariessetbyconventionisthesourceof

frequentdenunciationsofobjectsofartasimmoral.Butoneofthefunctionsof
artispreciselytosapthemoralistictimiditythatcausesthemindtoshyaway
fromsomematerialsandrefusetoadmitthemintotheclearandpurifyinglightof
perceptiveconsciousness.
Theinterestofanartististheonlylimitationplaceduponuseofmaterial,and
thislimitationisnotrestrictive.Itbutstatesatraitinherentintheworkofthearist,
thenecessityofsinceritythenecessitythatheshallnotfakeandcompromise.
Theuniversalityofartissofarawayfromdenialoftheprincipleofselectionby

190

ARTASEXPERIENCE

meansofvitalinterestthatitdependsuponinterest.Otherartistshaveother
interests,andbytheircollectivework,unembarrassedbyfixedandantecedent
rule,allaspectsandphasesofexperiencearecovered.Interestbecomes
onesidedandmorbidonlywhenitceasestobefrank,andbecomesslyand
furtiveasitdoubtlessdoesinmuchcontemporaryexploitationofsex.Tolstois
identificationofsincerityastheessenceoforiginalitycompensatesformuchthat
iseccentricinhistractateonart.Inhisattackuponthemerelyconventionalin
poetry,hedeclaresthatmuchofitsmaterialisborrowed,artistsfeedinglike
cannibalsupononeanother.Stockmaterialconsists,hesays,ofallsortsof
legends,sagasandancienttraditionsmaidens,warriors,shepherds,hermits,
angels,devilsofallsortsmoonlight,thunder,mountains,thesea,precipices,
flowers,longhairlions,lambs,doves,nightingalesbecausetheyhaveoften
beenusedbyformerartistsintheirproductions.
Inhisdesiretorestrictthematerialofarttothemesdrawnfromthelifeofthe
commonman,factoryworkerandespeciallypeasant,Tolstoipaintsapictureof
theconventionalrestrictionsthatisoutofperspective.Butthereistruthenough
inittoserveasillustrationofoneallimportantcharacteristicofart:Whatever
narrowstheboundariesofthematerialfittobeusedinarthemsinalsothe
artisticsincerityoftheindividualartist.Itdoesnotgivefairplayandoutlettohis
vitalinterest.Itforceshisperceptionsintochannelspreviouslywornintorutsand
clipsthewingsofhisimagination.Ithinktheideathatthereisamoralobligation
onanartisttodealwithproletarianmaterial,orwithanymaterialonthebasisof
itsbearingonproletarianfortuneanddestinyisanefforttoreturntoaposition
thatarthashistoricallyoutgrown.Butasfarasproletarianinterestmarksanew

directionofattentionandinvolvesobservationofmaterialspreviouslypassed
over,itwillcertainlycallintoactivitypersonswhowerenotmovedtoexpression
byformermaterials,andwilldiscloseandthushelpbreakdownboundariesof
whichtheywerenotpreviouslyaware.Iamsomewhatskepticalabout
Shakespearesallegedpersonalaristocraticbias.Ifancythathislimitationwas
conventional,familiar,andthereforecongenialtopitaswellastostalls.But
whateveritssource,itlimitedhisuniversality.
THECOMMONSUBSTANCEOFTHEARTS191

Evidencethatthehistoricmovementofthearthasabolishedrestrictionsofits
subjectmatterthatoncewerejustifiedonallegedrationalgroundsdoesnot
provethatthereissomethingcommoninthematterofallthearts.Butitsuggests
thatwiththevastextensionofitsscopetotakein(potentially)anythingand
everything,artwouldhavelostitsunity,dispersedintoconnectedarts,tillwe
couldnotseethewoodsforthetreesnorasingletreeforitsbranches,were
therenotacoreofcommonsubstance.Theobviousreplytothissuggested
inferenceisthattheunityoftheartsresidesintheircommonform.Acceptanceof
thisreplycommitsus,however,totheideathatformandmatterareseparate,
andleadsusthereforetoreturntotheassertionthatanartproductisformed
substance,andthatwhatappearsuponreflectionasformwhenoneinterestis
uppermostappearsasmatterwhenchangeofinterestgivesanotherturnto
direction.
Apartfromsomespecialinterest,everyproductofartismatterandmatter
only,sothatthecontrastisnotbetweenmatterandformbutbetweenmatter
relativelyunformedandmatteradequatelyformed.Thefactthatreflectionfinds
distinctiveforminpicturescannotbesetagainstthefactthatapaintingconsists

simplyofpigmentsplacedoncanvas,sinceanyarrangementanddesignthey
haveis,afterall,apropertyofthesubstanceandofnothingelse.Similarly,
literatureasitexistsisjustsomanywords,spokenandwritten.Stuffis
everything,andformanameforcertainaspectsofthematterwhenattention
goesprimarilytojusttheseaspects.Thefactthataworkofartisanorganization
ofenergiesandthatthenatureoftheorganizationisallimportant,cannotmilitate
againstthefactthatitisenergieswhichareorganizedandthatorganizationhas
noexistenceoutsideofthem.

THEacknowledgedcommunityofformindifferentartscarrieswithitby
implicationacorrespondingcommunityofsubstance.ItisthisimplicationwhichI
nowproposetoexploreanddevelop.Ihavepreviouslynotedthatartistand
perceiveralikebeginwithwhatmaybecalledatotalseizure,aninclusive
qualitativewholenotyetarticulated,notdistinguishedintomembers.Speakingof
theoriginofhispoems,Schillersaid:Withmethe

192

ARTASEXPERIENCE

perceptionisatfirstwithoutaclearanddefiniteobject.Thistakesshapelater.
Whatprecedesisapeculiarmusicalmoodofmind.Afterwardscomesthe
poetical
idea.
Iinterpretthissayh.~tomeansomethingofthekindjuststated.
Moreover,notonlydoesthemoodcomefirst,butitpersistsasthesubstratum
afterdistinctionsemergeinfacttheyemergeas
its
distinctions.
Evenattheoutset,thetotalandmassivequalityhasitsuniquenesseven
whenvagueandundefined,itisjustthatwhichitisandnotanythingelse.Ifthe
perceptioncontinues,discriminationinevitablysetsin.Attentionmustmove,and,
asitmoves,parts,members,emergefromthebackground.Andifattention
movesinaunifieddirectioninsteadofwandering,itiscontrolledbythepervading
qualitativeunityattentioniscontrolled
by
itbecauseitoperateswithinit.That
verses
are
thepoem,areitssubstance,issotruisticthatitsaysnothing.Butthe
factwhichthetruismrecordscouldnotexistunlessmatter,poeticallyfelt,came
first,andcameinsuchaunifiedandmassivewayastodetermineitsown
development,thatisitsspecificationintodistinctiveparts.Ifthepercipientis
awareofseamsandmechanicaljunctionsinaworkofart,itisbecausethe
substanceisnotcontrolledbyapermeatingquality.
Notonlymustthisqualitybeinallparts,butitcanonlybefelt,thatis,
immediatelyexperienced.Iamnottryingtodescribeit,foritcannotbedescribed
norevenbe
specifically
pointedatsincewhateverisspedfiedinawotkofartis
oneof
its
differentiations.Iamonlytryingtocallattentiontosomethingthatevery
onecanrealizeispresentinhisexperienceofaworkofart,butthatis
so
thoroughlyandpervasivelypresentthatitistakenforgranted.Intuitionhas
beenusedbyphilosopherstodesignatemanythingssomeofwhichare

suspiciouscharacters.Butthepenetratingqualitythatrunsthroughalltheparts
ofaworkofartandbindsthemintoanindividualizedwholecanonlybe
emotionallyintuited.Thedifferentelementsandspecificqualitiesofaworkof
artblendandfuseinawaywhichphysicalthingscannotemulate.Thisfusionis
thefeltpresenceofthesamequalitativeunityinallofthem.Partsare
discriminated,notintuited.Butwithouttheintuitedenvelopingquality,partsare
externaltooneanotherandmechanicallyrelated.Yettheorganismwhichisthe
workofartisnothingdifferentfromits

THECOMMONSUBSTANCEOFTHEARTS193

partsormembers.It
is
thepartsasmembersafactthatagainbringsusto
theonepervasivequalitythatremainsthesamequalityinbeingdifferentiated.
Theresultingsenseoftotalityiscommemorative,expectant,insinuating,
premonitory.*
Thereisnonametobegivenit.Asitenlivensandan!mates,itisthespiritof
theworkofart.Itisitsreality,whenwefeeltheworkofarttoberealonitsown
accountandnotasarealisticexhibition.Itistheidiominwhichtheparticular
workiscomposedandexpressed,thatwhichstampsitwithindividuality.Itisthe
backgroundwhichismorethanspatialbecauseitentersintoandqualifies
everythinginthefocus,everythingdistinguishedasapartandmember.Weare
accustomedtothinkofphysicalobjectsashavingboundededgesthingslike
rocks,chairs,books,houses,trade,andscience,withitseffortsatprecise
measurement,haveconfirmedthebelief.Thenweunconsciouslycarryoverthis
beliefintheboundedcharacterofall
objects
ofexperience(abelieffounded
ultimatelyinthepracticalexigenciesofourdealingswiththings)intoour
conceptionofexperienceitself.Wesupposetheexperiencehasthesame
definitelimitsasthethingswithwhichitisconcerned.Butanyexperiencethe
mostordinary,hasanindefinitetotalsetting.Things,objects,areonlyfocal
pointsofahereandnowinawholethatstretchesoutindefinitely.Thisisthe
qualitativebackgroundwhichisdefinedandmadedefinitelyconsciousin
particularobjectsandspecifiedpropertiesandqualities.Thereissomething
mysticalassociatedwiththewordintuition,andanyexperiencebecomes
mysticalinthedegreeinwhichthesense,thefeeling,oftheunlimitedenvelope

becomesintenseasitmaydoinexperienceofanobjectofart.AsTennyson
said:

Experienceisanarchwheretisro
Gleamsthatuntravelldworld,whosemarginfades
ForeverandforeverwhenImove.

Foralthoughthereisaboundinghorizon,itmovesaswemove.Wearenever
whollyfreefromthesenseofsomethingthatliesbeyond.Withinthelimitedworld
directlyseen,thereisa

*
~takethisopportunitytomentionagainthe
essayon
QualitatiuThought,
previouslyreferredto(p.
120).

194

ARTASEXPERIENCE

treewitharockatitsfootwefastenoursightupontherock,andthenupon
themossontherock,perhapswethentakeamicroscopetoviewsometiny
lichen.Butwhetherthescopeofvisionbevastorminute,weexperienceitasa
partofalargerwholeandinclusivewhole,apartthatnowfocusesour
experience.Wemightexpandthefieldfromthenarrowertothewider.But
howeverbroadthefield,itisstillfeltasnotthewholethemarginsshadeintothat
indefiniteexpansebeyondwhichimaginationcallstheuniverse.Thissenseof
theincludingwholeimplicitinordinaryexperiencesisrenderedintensewithinthe
frameofapaintingorpoem.It,ratherthananyspecialpurgation,isthatwhich
reconcilesustotheeventsoftragedy.Thesymbolistshaveexploitedthis
indefinitephaseofartPoespokeofasuggestiveindefinitenessofvagueand
thereforespiritualeffect,whileColeridgesaidthateveryworkofartmusthave
aboutitsomethingnot
understood
toobtainitsfulleffect.
Abouteveryexplicitandfocalobjectthereisarecessionintotheimplicit
whichisnotintellectuallygrasped.Inreflectionwecallitdimandvague.Butin
theoriginalexperienceitisnotidentifiedasthevague.Itisafunctionofthe
wholesituation,andnotanelementinit,asitwouldhavetobeinordertobe
apprehended
as
vague.Attwilight,duskisadelightfulqualityofthewholeworld.
Itisitsappropriatemanifestation.Itbecomesaspecializedandobnoxioustrait
onlywhenitpreventsdistinctperceptionofsomeparticularthingwedesireto
discern.
Theundefinedpervasivequalityofanexperienceisthatwhichbindstogether
allthedefinedelements,theobjectsofwhichwearefocallyaware,makingthem
awhole.Thebestevidencethatsuchisthecaseisourconstantsenseofthings

asbelongingornotbelonging,ofrelevancy,asensewhichisimmediate.It
cannotbeaproductofreflection,eventhoughitrequiresreflectiontofindout
whethersomeparticularconsiderationispertinenttowhatwearedoingor
thinking.Forunlessthesensewereimmediate,weshouldhavenoguidetoour
reflection.Thesenseofanextensiveandunderlyingwholeisthecontextof
everyexperien~~eanditistheessenceofsanity.Forthemad,theinsane,thing
tousisthatwhichistornfromthecommoncontextandwhichstandsaloneand
isolated,asanythingmustwhichoccursinaworldtotally

THECOMMONSUBSTANCEOFTHEARTS195

differentfromours.Withoutanindeterminateandundeterminedsetting,the
materialofanyexperienceisincoherent.
Aworkofartelicitsandaccentuatesthisqualityofbeingawholeandof
belongingtothelarger,allinclusive,wholewhichistheuniverseinwhichwelive.
Thisfact,Ithink,istheexplanationofthatfeelingofexquisiteintelligibilityand
claritywehaveinthepresenceofanobjectthatisexperiencedwithesthetic
intensity.Itexplainsalsothereligiousfeelingthataccompaniesintenseesthetic
perception.Weare,asitwere,introducedintoaworldbeyondthisworldwhichis
neverthelessthedeeperrealityoftheworldinwhichweliveinourordinary
experiences.Wearecarriedoutbeyondourselvestofindourselves.Icanseeno
psychologicalgroundforsuchpropertiesofanexperiencesavethat,somehow,
theworkofartoperatestodeepenandtoraisetogreatclaritythatsenseofan
envelopingundefinedwholethataccompanieseverynormalexperience.This
wholeisthenfeltasanexpansionofourselves.Foronlyonefrustratedina
particularobjectofdesireuponwhichhehadstakedhimself,likeMacbeth,finds
thatlifeisataletoldbyanidiot,fullofsoundandfury,signifyingnothing.Where
egotismisnotmadethemeasureofrealityandvalue,wearecitizensofthisvast
worldbeyondourselves,andanyintenserealizationofitspresencewithandin
usbringsapeculiarlysatisfyingsenseofunityinitselfandwithourselves.

EVERYworkofarthasaparticularmediumbywhich,amongotherthings,
thequalitativepervasivewholeiscarried.Ineveryexperiencewetouchtheworld
throughsomeparticulartentaclewecarryonourintercoursewithit,itcomes

hometous,throughaspecializedorgan.Theentireorganismwithallitscharge
ofthepastandvariedresourcesoperates,butitoperatesthroughaparticular
medium,thatofeye,asitinteractswitheye,ear,andtouch.Thefineartslayhold
ofthisfactandpushittoitsmaximumofsignificance.Inanyordinaryvisual
perception,weseebymeansoflightwedistinguishbymeansofreflectedand
refractedcolors:thatisatruism.Butinordinaryperceptions,thismediumofcolor
ismixed,adulterated.Whilewesee,wealsohearwefeelpressures,andheator
cold.Inapainting,color

196

ARTASEXPERIENCE

rendersthescenewithoutthesealloysandimpurities.Theyarepartofthe
drossthatissqueezedoutandleftbehindinanactofintensifiedexpression.The
mediumbecomescoloralone,andsincecoloralonemustnowcarrythequalities
ofmovement,touch,sound,etc.,thatarepresentphysicallyontheirownaccount
inordinaryvision,theenpressivenessandenergyofcolorareenhanced.
Photographstoprimitivefolkhave,soitissaid,afearfulmagicalquality.Itis
uncannythatsolidandlivingthingsshouldbethuspresented.Thereisevidence
thatwhenpicturesofanykindfirstmadetheirappearance,magicalpowerwas
imputedtothem.Theirpowerofrepresentationcouldcomeonlyfroma
supernaturalsource.Toonewhoisnotrenderedcallousbycommoncontactwith
pictorialrepresentationsthereisstillsomethingmiraculousinthepowerofa
contracted,flat,uniformthingtodepictthewideanddiversifieduniverseof
animateandinanimatethings:itispossiblyforthisreasonthatpopularlyart
tendstodenotepainting,andartistonewhopaints.Primitivemanalsoimputed
tosoundswhenusedaswordsthepowertocontrolsupernaturallytheactsand
secretsofmenandtocommand,providedtherightwordwasthere,theforcesof
nature.Thepowerofmeresoundstoexpressinliteraturealleventsandobjects
isequallymarvelous.
Suchfactsastheseseemtometosuggestther6leandsignificanceofmedia
forart.Atfirstsight,itseemsafactnotworthrecordingthateveryarthasa
mediumofitsown.Whyputitdowninblackandwhitethatpaintingcannotexist
withoutcolor,musicwithoutsound,architecturewithoutstoneandwood,statuary
withoutmarbleandbronze,literaturewithoutwords,dancingwithouttheliving
body?Theanswerhas,Ibelieve,beenindicated.Ineveryexperience,thereis

thepervadingunderlyingqualitativewholethatcorrespondstoandmanifeststhe
wholeorganizationofactivitieswhichconstitutethemysterioushumanframe.But
ineveryexperience,thiscomplex,thisdifferentiatedandrecording,mechanism
operatesthroughspecialstructuresthattakethelead,notindisperseddiffusion
throughallorgansatonce
saveinpanicwhen,aswetrulysay,onehaslostones
head.
Mediumin
fineartdenotesthefactthatthisspecializationandindividualizationofa
particularorganofexperienceiscarried

THECOMMONSUBSTANCEOFTHEARTS197

tothepointwhereinallitspossibilitiesareexploited.Theeyeorearthatis
centrallyactivedoesnotloseitsspecificcharacteranditsspecialfitnessasthe
bearerofanexperiencethatituniquelymakespossible.Inart,theseeingor
hearingthatisdispersedandmixedinordinaryperceptionsisconcentrateduntil
thepeculiarofficeofthespecialmediumoperateswithfullenergy,freefrom
distraction.
Mediumsignifiesfirstofallanintermediary.Theimportofthewordmeans
isthesame.Theyarethemiddle,theintervening,thingsthroughwhich
somethingnowremoteisbroughttopass.Yetnotallmeansaremedia.There
aretwokindsofmeans.Onekindisexternaltothatwhichisaccomplishedthe
otherkindistakenupintotheconsequencesproducedandremainsimmanentin
them.Thereareendswhicharemerelywelcomecessationsandthereareends
thatarefulfillmentsofwhatwentbefore.Thetoilofalaboreristoooftenonlyan
antecedenttothewagehereceives,asconsumptionofgasolineismerelya
meanstotransportation.Themeansceasetoactwhentheendisreachedone
wouldbeglad,asarule,togettheresultwithouthavingtoemploythemeans.
Theyarebutascaffolding.
Suchexternalor
mere
means,asweproperlytermthem,areusuallyofsuch
asortthatotherscanbesubstitutedforthemtheparticularonesemployedare
determinedbysomeextraneousconsideration,likecheapness.Butthemoment
wesaymedia,werefertomeansthatareincorporatedintheoutcome.Even
bricksandmortarbecomeapartofthehousetheyareemployedtobuildthey
arenotmeremeanstoitserection.Colors
are
thepaintingtonesarethemusic.
Apicturepaintedwithwatercolorshasaqualitydifferentfromthatpaintedwith

oil.Estheticeffectsbelongintrinsicallytotheirmediumwhenanothermediumis
substituted,wehaveastuntratherthananobjectofart.Evenwhensubstitution
ispracticedwiththeutmostvirtuosityorforanyreasonoutsidethekindofend
desired,theproductismechanicaloratawdryshamlikeboardspaintedto
resemblestoneintheconstructionofacathedral,forstoneisintegralnotjust
physically,buttotheestheticeffect.
Thedifferencebetweenexternalandintrinsicoperationsrunsthroughallthe
affairsoflife.Onestudentstudiestopassanexamination,togetpromotion.To
another,themeans,the

199

ARTASEXPERIENCE

activityoflearning,iscompletelyonewithwhatresultsfromit.The
consequence,instruction,illumination,isonewiththeprocess.Sometimeswe
journeytogetsomewhereelsebecausewehavebusinessatthelatterpointand
wouldgladly,wereitpossible,cutoutthetraveling.Atothertimeswejourneyfor
thedelightofmovingaboutandseeingwhatwesee.Meansandendcoalesce.If
werunoverinmindanumberofsuchcaseswequicklyseethatallthecasesin
whichmeansandendsareexternaltooneanotherarenonesthetic.This
externalitymayevenberegardedasadefinitionofthenonesthetic.
Beinggoodforthesakeofavoidingpenalty,whetheritbegoingtojailorto
hell,makesconductunlovely.Itisasanestheticasisgoingtothedentistschair
soastoavoidalastinginjury.WhentheGreeksidentifiedthegoodandbeautiful
inactions,theyrevealed,intheirfeelingofgraceandproportioninrightconduct,
aperceptionoffusionofmeansandends.Theadventuresofapiratehaveat
leastaromanticattractionlackinginthepainfulacquisitionsofhimwhostays
withinthelawmerelybecausehethinksitpaysbetterintheendtodoso.Alarge
partofpopularrevulsionagainstutilitarianisminmoraltheoryisbecanseofits
exaggerationofsheercalculation.Decorumandproprietywhichoncehada
favorable,becauseesthetic,meaningaretakingonadisparagingsignification
becausetheyareunderstoodtodenoteaprimnessorsmugnessassumed
becauseofdesireforanexternalend.Inallrangesofexperience,externalityof
meansdefinesthemechanical.Muchofwhatistermedspiritualisalso
unesthetic.Buttheunestheticqualityisbecausethethingsdenotedbytheword
alsoexemplifyseparationofmeansandendtheidealissocutofffromthe
realities,bywhichaloneitcanbestrivenfor,thatitisvapid.Thespiritualgetsa

localhabitationandachievesthesolidityofformrequiredforestheticqualityoaly
whenitisembodiedinasenseofactualthings.Evenangelshavetobeprovided
inimaginationwithbodiesandwings.
Ihavereferredmorethanoncetotheestheticqualitythatmayinherein
scientificwork.Tothelaymanthematerialofthescientistisusuallyforbidding.
Totheinquirerthereexistsafulfillingandconsummatoryquality,forconclusions
sumupandperfecttheconditionsthatleaduptothem.Moreover,theyhaveat
timesanelegantandevenaustereform.ItissaidthatClark

THECOMMONSUBSTANCEOFTHEARTS199

Maxwellonceintroducedasymbolinordertomakeaphysicalequation
symmetrical,andthatitwasonlylaterthatexperimentalresultsgavethesymbol
itsmeaning.Isupposethatitisalsotruethatifbusinessmenwerethemere
moneygrubberstheyareoftensupposedtobebytheunsympatheticoutsider,
businesswouldbemuchlessattractivethanitis.Inpractice,itmaytakeonthe
propertiesofagame,andevenwhenitissociallyharmfulitmusthavean
estheticqualitytothosewhomitcaptivates.
Meansare,then,mediawhentheyarenotjustpreparatoryorpreliminary.As
amedium,colorisagobetweenforthevaluesweakanddispersedinordinary
experiencesandthenewconcentratedperceptionoccasionedbyapainting.A
phonographicdiskisavehicleofaneffectandnothingmore.Themusicwhich
issuesfromitisalsoavehiclebutissomethingmoreitisavehiclewhich
becomesonewithwhatitcarriesitcoalesceswithwhatitconveys.Physically,a
brushandthemovementofthehandinapplyingcolortocanvasareexternaltoa
painting.Notsoartistically.Brushstrokesareanintegralpartoftheesthetic
effectofapaintingwhenitisperceived.Somephilosophershaveputforththe
ideathatestheticeffectorbeautyisakindofetherealessencewhich,in
accommodationtoflesh,iscompeDedtouseexternalsensuousmaterialasa
vehicle.Thedoctrineimpliesthatwerenotthesoulimprisonedinthebody,
pictureswouldexistwithoutcolors,musicwithoutsounds,andliteraturewithout
words.Except,however,forcriticswhotellushowtheyfeelwithouttellingor
knowingintermsofmediaused
why
theyfeelastheydo,andexceptforpersons
whoidentifygushwithappreciation,mediaandestheticeffectarecompletely
fused.

Sensitivitytoamediumasamediumistheveryheartofallartisticcreation
andestheticperception.Suchsensitivenessdoesnotluginextraneousmaterial.
When,forexample,paintingsarelookedatasillustrationsofhistoricalscenes,of
literature,offamiliarscenes,theyarenotperceivedintermsoftheirmedia.Or,
whentheyarelookedatsimplywithreferencetothetechnicemployedinmaking
themwhattheyare,theyarenotestheticallyperceived.Forhere,too,means,
areseparatedfromends.Analysisoftheformerbecomesasubstitutefor
enjoymentofthelatter.Itistruethatartistsseemthemselvesoftentoapproacha
workofartfromanexclusivelytechnicalstandpointandthe

200

ARTASEXPERIENCE

outcomeisatleastrefreshingalterhavinghadadoseofwhatisregardedas
appreciation.Butinreality,forthemostpart,theysofeelthewholethatitisnot
necessarytodwellupontheend,thewhole,inwords,andsotheyarefreedto
considerhowthelatterisproduced.
Themediumisamediator.Itisagobetweenofartistandperceiver.Tolstoiin
themidstofhismoralpreconceptionsoftenspeaksasanartist.Heiscelebrating
thisfunctionofanartistwhenhemakestheremarksalreadyquotedaboutartas
thatwhichunites.Theimportantthingforthetheoryofartisthatthisunionis
effectedthroughtheuseofspecialmaterialasamedium.Bytemperament,
perhapsbyinclinationandaspiration,weareallartistsuptoacertainpoint.
Whatislackingisthatwhichmarkstheartistinexecution.Fortheartisthasthe
powertoseizeuponaspecialkindofmaterialandconvertitintoanauthentic
mediumofexpression.Therestofusrequiremanychannelsandamassof
materialtogiveexpressiontowhatweshouldliketosay.Thenthevarietyof
agenciesemployedgetinthewayofoneanotherandrenderexpressionturbid,
whilethesheerbulkofmaterialemployedmakesitconfusedandawkward.The
artiststickstohischosenorgananditscorrespondingmaterial,andthustheidea
singlyandconcentratedlyfeltintermsofthemediumcomesthroughpureand
clear.HeplaysthegameIntensely,becausestrictly.
SomethingwhichDelacroixsaidofpaintersofhisdayappliestoinferior
artistsgenerally.Hesaidtheyusedcolorationratherthancolor.Thestatement
signifiedthattheyappliedcolor
to
theirrepresentedobjectsinsteadofmaking
themoutofcolor.Thisproceduresignifiesthatcolorsasmeansandobjectsand
scenesdepictedwerekeptapart.Theydidnotusecolorasmediumwith

completedevotion.Theirmindsandexperienceweredivided.Meansandenddid
notcoalesce.ThegreatestestheticrevolutionInthehistoryofpaintingtookplace
whencolorwasusedstructurallythenpicturesceasedtobecoloreddrawings.
Thetrueartistseesandfeelsintermsofhismediumandtheonewhohas
learnedtoperceiveestheticallyemulatestheoperation.Otherscarryintotheir
seeingofpicturesandhearingofmusicpreconceptionsdrawnfromsourcesthat
obstructandconfuseperception.
Fineartissometimesdefinedaspowertocreatellhisiona

THECOMMONSUBSTANCEOFTHEARTS201

AsfarasIcanseethisstatementisadecidedlyunintelligentandmisleading
wayofstatingatruthnamely,thatartistscreateeffectsbycommandofsingle
medium.Inordinaryperceptionwedependuponcontributionfromavarietyof
sourcesforourunderstandingofthemeaningofwhatweareundergoing.The
artisticuseofamediumsignifiesthatirrelevantaidsareexcludedandonesense
qualityisconcentratedlyandintenselyusedtodotheworkusuallydoneloosely
withtheaidofmany.Buttocalltheresultanillusionistomixmattersthatshould
bedistinguished.Ifmeasureofartisticmeritwereabilitytopaintaflyonapeach
sothatwearemovedtobrushitofforgrapesonacanvassothatbirdscometo
peckatthem,ascarecrowwouldbeaworkofconsummatefineartwhenit
succeedsatkeepingawaythecrows.
TheconfusionofwhichIhavejustspokencanbeclearedup.There
is
somethingphysical,initsordinarysenseofrealexistence.Thereisthecoloror
soundthatconstitutesthemedium.Andthereisanexperiencehavingasenseof
reality,quitelikelyaheightenedone.Thissensewouldbeillusory,ifitwerelike
thatwhichappertainstothesenseoftherealexistenceofthemedium.Butitis
verydifferent.Onthestagethemedia,theactorsandtheirvoicesandgestures,
arereallytheretheyexist.Andthecultivatedauditorhasasaconsequencea
heightenedsense(supposingtheplaytobegenuinelyartistic)oftherealityof
thingsof
ordinary
experience.Onlytheuncultivatedtheatergoerhassuchan
illusionoftherealityofwhatisenactedthatheidentifieswhatisdonewiththe
kindofrealitymanifestedinthepsychicalpresenceoftheactors,sothathetries
tojoinintheaction.Apaintingoftreesorrocksmaymakethecharacteristic
realityoftreeorrockmorepoignantthanithadeverbeenbefore.Butthatdoes

notimplythatthespectatortakesapartofthepicturetobeanactualrockofthe
kindhecouldhammerorsiton.Whatmakesamaterialamediumisthatitis
usedtoexpressameaningwhichisotherthanthatwhichitisinvirtueofitsbare
physicalexistence:themeaningnotofwhatitphysicallyis,butofwhatit
expresses.
Inthediscussionofthequalitativebackgroundofexperienceandofthe
specialmediumthroughwhichdistinctmeaningsandvaluesareprojectedupon
it,weareinthepresenceofsome

202

ARTASEXPERIENCE

thingcommoninthesubstanceofthearts.Mediaaredifferentinthedifferent
arts.Butpossessionofamediumbelongstothemall.Otherwisetheywouldnot
beexpressive,norwithoutthiscommonsubstancecouldtheypossessform.I
referredearliertoDr.Barnesdefinitionofformastheintegration,through
relations,ofcolor,light,lineandspace.Colorisevidentlythemedium.Butthe
otherartsnotonlyhavesomethingcorrespondingtocolorasmediumbutthey
haveasapropertyoftheirsubstancesomethingwhichexercisesthesame
functionthatlineandspaceperforminapicture.Inthelatter,linedemarcates,
delimits,andtheresultispresentationofdistinctobjects,figureorshapebeing
themeansbywhichanotherwiseindiscriminatemassisdefinedintoidentifiable
objects,persons,mountains,grass.Everyarthasindividualized,defined
members.Everyartsousesitssubstantialmediumastogivecomplexityofparts
totheunityofitscreations.
Thefunctionwearelikelytoassigntoline,uponfirstthinkingofit,isthatof
form.Alinerelates,connects.Itisanintegralmeansofdeterminingrhythm.
Reflectionshows,however,thatwhatgivesthejustrelationshipinonedirection
constitutesindividualityofpartsintheotherdirection.Supposewearelookingat
anordinarynaturallandscape,consistingoftrees,undergrowth,apatchof
grassyfield,andafewhillsinthebackground.Thesceneconsistsoftheseparts.
Buttheydonotcomposewellasfarastheentiresceneisconcerned.Thehills
andsomeofthetreesarenotplacedrightwewanttorearrangethem.Someof
thebranchesdonotfitand,whilesomeoftheunderbrushmakesagoodsetting,
otherpartsofitareconfusinglyintheway.

Physicallythethingsmentionedarepartsofthescene.Buttheyarenotparts
ofitifwetakeitasanestheticwhole.Nowourfirsttendency,lookingatthe
matteresthetically,wouldprobablybetoassignthedefectstotheform,tothe
sideofinadequateanddisturbingrelationshipofcontour,mass,andplacing.And
weshouldnotbewronginfeelingthatjarandinterferencearisefromthissource.
Butifwecarryanalysisfurther,weseethatdefectinrelationshipononesideis
defectinindividualstructureanddefinitenessontheotherside.Weshouldfind
thatthechangeswemakeinordertogetabettercompositionalsoservetogive

THECOMMONSUBSTANCEOFTHEARTS203

parts
anindividualization,adefiniteness,inperceptiontheydidnothave
before.
Thesamesortofthingholdswhenaccentandintervalareinquestion.They
aredeterminedbythenecessityofmaintainingtherelationsthatbindpartsintoa
whole.Butalsowithouttheseelements,partswouldbeajumble,running
aimlesslyintooneanothertheywouldlackthedemarcationthatindividualizes.
Inmusicorversetherewouldbemeaninglesslapses.Ifapaintingistobea
picture,theremustbenotonlyrhythm,butmassthecommonsubstratumof
colormustbedefinedintofiguresotherwisetherearesmears,blotches,and
blurs.
Therearepicturesinwhichcolorsaresubduedandyetthepaintinggivesus
asenseofglowandsplendor,whilethecolorsinotherpaintingsarebrighttothe
pointofloudness,andyetthetotaleffectisofsomethingdrab.Vividiybright
color,exceptatthehandsofanartist,isreasonablysuretosuggestachromo.
Butwithanartist,acolorgarishinitselforevenmuddymayenhanceenergy.
Theexplanationofsuchfactsastheseisthatanartistusescolortodefinean
object,
andaccomplishesthisindividualizationsocompletelythatcolorand
objectfuse.Thecolorisoftheobjectandtheobjectin
all
itsqualitiesis
expressedthroughcolor.Foritis
objects
thatglowgemsandsunlightanditis
objects
thataresplendidcrowns,robes,sunlight.Exceptastheyexpress
objects,throughbeingthesignificantcolorqualityofmaterialsofordinary
experience,colorseffectonlytransientexcitationsasredarouseswhileanother
colorsoothes.Takeanyartonepleases,anditwillappearthatthemediumis
expressivebecauseitisusedtoindividualizeanddefine,andthisnotjustinthe

senseofphysicaloutlinebutinthesenseofexpressingthatqualitywhichisone
withthecharacterofanobjectitrenderscharacterdistinctbyemphasis.
Whatwouldanovelordramabewithoutdifferentpersons,situations,actions,
ideas,movements,events?Thesearemarkedofftechnicallybyactsandscenes
inthedrama,byvanousentrancesandexitsandallthedevicesofstagecraft.
Butthelatterarejustmeansofthrowingelementsintosuchreliefthatthey
completeobjectsandepisodesontheirownaccountasrestsinmusicarenot
blanks,but,whiletheycontinuearhythm,punctuateandInstituteindividuality.
Whatwouldanarchitec

204

ARTASEXPERIENCE

turalstructurebewithoutdifferentiationofmasses,andadifferentiationthatis
notjustphysicalandspatial,butonethatdefinesparts,windows,doors,
cornices,supports,roof,andsoon?Butbydwellingundulyonafactthatis
alwayspresentinanycomplexsignificantwhole,Imayappeartomakea
mysteryoutofathingthatisourmostfamiliarexperiencethatnowholeis
significanttousexceptasitisconstitutedbypartsthatarethemselvessignificant
apartfromthewholetowhichtheybelong
that,inshort,nosignificantcommunitycanexistsaveasitiscomposedof
individualswhoaresignificant.
TheAmericanwatercolorist,JohnMann,hassaidofaworkofart:Identity
loomsupasthegreatsheetanchor.Andasnatureinthefashioningofmanhas
adheredstrictlytoIdentity,Head,Body,Limbsandtheirseparatecontents,
identitiesinthemselves,workingeverypartwithinitselfandthroughandwiththe
otherparts,itsneighbors,atitsbestapproachingabeautifulbalance,sothisart
productismadeupofneighboridentities.Andifanidentityinthismakeup
doesnttakeitsplaceandpartitsabadneighbor.Andifthechordsconnecting
theneighborsdonottaketheirplacesandparts,itsabadservice,abadcontact.
SothisArtproductisavillageinitself.Theseidentitiesarethepartsthatare
themselvesindividualwholesinthesubstanceoftheworkofart.
Ingreatart,thereIsnolimitsettotheindividualizationofpartswithinparts.
Leibaixtaughtthattheuniverseisinfinitelyorganicbecauseeveryorganicthing
isconstitutedadinfinitumofotherorganisms.Onemaybeskepticalofthetruth
ofthispropositionasregardstheuniverse,but,asameasureofartistic
achievement,itistruethateverypartofaworkofartispotentiallyatleastso

constituted,sinceitissusceptibleofindefiniteperceptualdifferentiation.Wesee
buildingsinwhichthereislittleornothinginthepartstoarrestattentionunless
fromsheerugliness.*Oureyesliterallyglanceoverandby.Intrivialmusic,parts
aresimplymeansofpassingontheydonotholdusasparts,norasthe
successiongoesondoweholdwhatprecedesaspartsaswiththeesthetically
cheapnovel,wemaygeta

*
Theexplanationofthefactthatthings
ugly
inthemselvesmaycontributeto
theestheticeffectofawholeisdoubtlessoftenduetothefactthattheyareso
usedastocontributetoindividualizationofpartswithinawhole.

THECOMMONSUBSTANCEOFTHEARTS205

kickfromtheexcitationofmovement,butthereisnothingto
dwell
upon
unlessthereisanindividualizedobjectorevent.Ontheotherhand,prosemay
haveasymphoniceffectwhenarticulationiscarrieddownintoeveryparticular.
Themoredefinitionofpartscontributestothewhole,themoreitisimportantin
itself.
Tolookataworkofartinordertoseehowwellcertainrulesareobserved
andcanonsconformedtoimpoverishesperception.Buttostrivetonotetheways
inwhichcertainconditionsarefulfilled,suchastheorganicmeansbywhichthe
mediaismadetoexpressandcarrydefiniteparts,orhowtheproblemof
adequateindividualizationissolved,sharpensestheticperceptionandenriches
itscontent.Foreveryartistaccomplishestheoperationinhisownwayandnever
exactlyrepeatshimselfinanytwoofhisworks.Heisentitledtoeveryandany
technicalmeansbywhichhecaneffecttheresult,whiletoapprehendhis
characteristicmethodofdoingsoistogetaninitiationintoesthetic
comprehension.Onepaintergivesindividualityindetailbyfluidlines,by
mergings,morethananotherartistdoeswiththemostsharplyoutlinedprofile.
Onedoeswithchiaroscurowhatanotherbringsaboutbyhighlights.Itisnot
uncommontofindinRembrandtsdrawings,lineswithinafigurethatarestronger
thanthosewhichbounditexternallyandyetthereisgainratherthansacrifice
ofindividuality.Inageneralwaytherearetwooppositemethodsthatofcontrast,
ofthestaccato,theabrupt,andthatofthefluid,themerging,thesubtle
gradation.Fromthatwecanproceedtodiscoveryofeverincreasingrefinements.
Asinstancesofthetwomethodsinthelarge,wemaytakeinstancescitedbyLeo
Stein.Compare,hesays,thelineofShakespeareincradleofrudeimperious

surgewiththelineWhenicicleshangbythewall.Inthefirst,thereare
contrastslikecradiesurge,imperiousrude.contrastsofvowelsandalsoofpace.
Intheother,hesays:Eachlineislikealoopinalightlyhungchain,orevenlike
acantilever,easilyintouchwithitsfellows.Thefactthatthemethodof
abruptnesslendsitselfmostdirectlytodefinitionandthatofcontinuityto
establishingofrelationsisperhapsareasonwhyartistshavelikedtoreversethe
processandthusincreasetheamountofenergyelicited.
Itispossibleforbothperceiverandartisttocarrytheir

206

ARTASEXPERIENCE

predilectionforaparticularmethodofattainingindividualizationtosucha
pointthattheyconfusethemethodwiththeend,anddenythelatterexistswhen
theyarerepelledbythemeansusedtoachieveit.Fromthesideoftheaudience,
thisfactisillustratedonalargescalebythereceptiongiventopaintingswhen
artistsceasedtoemployobviousshadingtodelimitfigures,usingarelationof
colorsinstead.itispeculiarlyevidentfromthesideofart,inonewhoissignificant
inpainting(butespeciallyindrawing)andprniminentlygreatinpoetry,Blake.He
deniedestheticmerittoRubens,Rembrandt,andtheVenetianandFlemish
schoolsgenerallybecausetheyworkedwithbrokenlines,brokenmassesand
brokencolorstheveryfactorsthatcharacterizethegreatrevivalofpainting
towardtheendofthenineteenthcentury.Headded:Thegreatandgoldenrule
ofart,aswellasoflife,isthis:Thatthemoredistinct,sharpandwirythe
boundingline,themoreperfecttheworkofart,andthelesskeenandsharp,the
greateristheevidenceofweakimagination,plagiarismandbungling....The
wantofthisdeterminateandboundingformevidencesthewantofideainthe
artistsmind,andthepretenseofplagiaryinallitsbranches.Thepassage
deservesquotationforitsemphaticrecognitionofdienecessityof
determinatenessofindividualizationofthemembersofaworkofart.Butitalso
indicatesthelimitationthatmayaccompanyaparticularmodeofvisionwhenitis
intense.
Thereisanothermatterthatiscommontothesubstanceofallworksofart.
Spaceandtimeorratherspacetimearefoundinthematterofeveryart
product.Inthearts,theyareneithertheemptycontainersnortheformalrelations
thatschoolsofphilosophyhavesometimesrepresentedthemtobe.Theyare

substantialtheyarepropertiesofeverykindofmaterialemployedinartistic
expressionandestheticrealization.ImagineinreadingMacbethanattemptto
separatethewitchesfromtheheath,orinthematterofKeatsOdeonthe
GrecianUrn,aseparationofthebodilyfiguresofpriest,maidens,andheifer
fromsomethingcalledsoulorspirit.Inpainting,spacecertainlyrelatesithelps
constituteform.Butitisdirectlyfelt,sensed,asqualityalso.Ifitwerenot,a
picturewouldbesofullofholesastodisorganizeperceptualexperience.
Psychologists,untilWilliamJamestaughtbetter,wereaccustomedtofindonly
temporal

THECOMMONSUBSTANCEOFTHEARTS207

qualityinsounds,andsomeofthemmadeeventhisamatterofintellectual
relationshipinsteadofaqualityasdistinctiveasanyothertraitofsound.James
showedthatsoundswerespatiallyvoluminousaswellafactwhichevery
musicianhadpracticallyemployedandexhibitedwhetherhehadtheoretically
formulateditornot.Aswiththeotherpropertiesofsubstanceofwhichwehave
spoken,thefineartsseekoutandelicitthisqualityofallthethingswe
experienceandexpressitmoreenergeticallyandclearlythandothethingsfrom
whichtheyextractit.Assciencetakesqualitativespaceandtimeandreduces
themtorelationsthatenterintoequations,soartmakesthemaboundintheir
ownsenseassignificantvaluesoftheverysubstanceofallthings.
Movementindirectexperienceisalterationinthe
qt~alities
ofobjects,and
spaceasexperiencedisanaspectofthisqualitativechange.Upanddown,back
andfront,toandfro,thissideandthatorrightandlefthereandthere,
feel
differently.Thereasontheydoisthattheyarenotstaticpointsinsomethingitself
static,butareobjectsinmovement,qualitativechangesofvalue.Forbackis
shortforbackwardsandfrontfor
forwards.
Sowithvelocity.Mathematicallythere
arenosuchthingsasfastandslow.Theymarksimplygreaterandlessona
numberscale.Asexperiencedtheyarequalitativelyasunlikeasarenoiseand
silence,heatandcold,blackandwhite.Tobeforcedtowaitalongtimeforan
importanteventtohappenisalengthverydifferentfromthatmeasuredbythe
movementsofthehandsofaclock.Itissomethingqualitative.
ThereisanothersignificantinvolutionoftimeandmovementInspace.Itis
constitutednotonlybydirectionaltendencies

upanddown,forexamplebutbymutualapproachesandretreatings.
Nearandfar,closeanddistant,arequalitiesofpregnant,oftentragic,
importthatis,astheyareexperienced,notjuststatedbymeasurementin
science.Theysignifylooseningandtightening,expandingandcontracting,
separatingandcompacting,soaringanddrooping,risingandfallingthe
dispersive,scattering,andthehoveringandbrooding,unsubstantiallightness
andmassiveblow.Suchactionsandreactionaretheverystuffoutofwhichthe
objectsandeventsweexperiencearemade.Theycanbedescribedinscience
becausetheyaretherereducedtorelationsthatdifferonlymathematically,as
science

206

ARTASEXPERIENCE

isconcernedabouttheremoteandidenticalorrepeatedthingsthatare
conditions
ofactualexperienceandnotwithexperienceinitsownright.Butin
experiencetheyareinfinitelydiversifiedandcannotbedescribed,whileinworks
ofarttheyare
expressed.
Forartisaselectionofwhatissignificant,with
rejectionbytheverysameimpulseofwhatisirrelevant,andtherebythe
significantiscompressedandintensified.
Music,forexample,givesustheveryessenceofthedroppingdownandthe
exaltedrising,thesurgingandretreating,theaccelerationandretardation,the
tighteningandloosening,thesuddenthrustandthegradualinsinuationofthings.
Theexpressionisabstractinthatitisfreedfromattachmenttothisandthat,
whileatthesametimeitisintenselydirectandconcrete.Itwouldbepossible,I
think,tomakeoutaplausiblecasefortheassertionthat,withoutthearts,the
experienceofvolumes,masses,figures,distancesanddirectionsofqualitative
changewouldhaveremainedrudimentary,somethingdimlyapprehendedand
hardlycapableofarticulatecommunication.
Whiletheemphasisoftheplasticartsisuponthespatialaspectsofchange
andthatofmusicandtheliteraryartsuponthetemporal,thedifferenceisonly
oneofemphasiswithinacommonsubstance.Eachpossesseswhattheother
activelyexploits,anditspossessionisabackgroundwithoutwhichtheproperties
broughttothefrontbyemphasiswouldexplodeintothevoid,evaporateinto
imperceptiblehomogeneity.Analmostpointforpointcorrespondencecanbe
institutedbetween,say,theopeningbarsofBeethovensfifthsymphonyandthe
serialorderofweights,ofponderousvolumes,inCezannesCardPlayers.In
consequenceofthevoluminousqualitybelongingtothemboth,boththe

symphonyandthepaintinghavepower,strength,andsoliditylikeamassive,
wellconstructedbridgeofstone.Theybothexpresstheenduring,thatwhichis
structurallyresistant.Twoartistsbydifferentmediaputtheessentialqualityofa
rockintothingsasunlikeasapictureandaseriesofcomplexsounds.Onedoes
hisworkbycolorplusspace,theotherbyasoundplustime,whichinthiscase
hasthemassivevolumeofspace.
Forspaceandtimeasexperiencedarenotonlyqualitativebutinfinitely
diversifiedinqualities.Wecanreducethediversificationtothreegeneralthemes:
Room,Extent,Position

THECOMMONSUBSTANCEOFTHEARTS209

Spaciousness,Spatiality,Spacingorintermsoftimetransition,endurance
anddate.Inexperience,thesetraitsqualifyoneanotherinasingleeffect.One
usuallypredominatesovertheothers,however,andwhiletheyhavenoseparate
existencetheycanbedistinguishedinthought.
Spaceisroom,
Raum,
androomisroominess,achancetobe,liveandmove.
Theverywordbreathingspacesuggeststhechoking,theoppressionthat
resultswhenthingsareconstricted.Angerappearstobeareactioninprotest
againstfixedlimitationofmovement.Lackofroomisdenialoflife,andopenness
ofspaceisaffirmationofitspotentiality.O~ercrowding,evenwhenitdoesnot
impedelife,isirritating.Whatistrueofspaceistrueoftime.Weneedaspaceof
timeinwhichtoaccomplishanythingsignificant.Unduehasteforceduponusby
pressureofcircumstancesishateful.Ourconstantcrywhenpushedfromwithout
isGiveustime!Themaster,itistrue,showshimselfwithinlimitations,anda
literallyinfiniteroomwithinwhichtoactwouldsignifycompletedispersion.But
thelimitationsmustbearadefiniteratiotopowertheyinvolveco6perative
choicetheycannotbeimposed.
Worksofartexpressspaceasopportunityformovementandaction.Itisa
matterofproportionsqualitativelyfelt.Alyricodemayhaveitwhenawouldbe
epicmissesit.Smallpicturesmanifestitwhenacresofpaintleaveuswitha
senseofbeingcribbedandcabined.Emphasisuponspaciousnessisa
characteristicofChinesepaintings.Insteadofbeingcentralizedsoastorequire
frames,theymoveoutwards,whilepanoramicscrollpaintingspresentaworldin
whichordinaryboundariesaretransformedintoinvitationstoproceed.Yetby
differentmeans,westernpaintingsthatarehighlycentralizedcreatethesenseof

theextensivewholethatenclosesascenethatiscarefullydefined.Evenan
interior,likeVanEycksJeanArnolfiniandWife,mayconveywithinadefined
compasstheexplicitsenseoftheoutdoorsbeyondthewalls.Titianpaintsthe
backgroundintheportraitofanindividualsothatinfinitespace,notjustthe
canvas,isbehindthefigure.
Mereroom,opportunityandpossibilitywhollyindeterminate,wouldbe,
however,blankandempty.Spaceandtimeinexperiencearealsooccupancy,
fillingnotmerelysomethingex

210

ARTASEXPERIENCE

ternallyfilled.Spatialityismassandvolume,astemporalityisendurance,not
justabstractduration.Soundsaswellascolorsshrinkandexpandandcolorslike
soundsriseandfall.AsIhavenotedbefore,WilliamJamesmadeevidentthe
voluminousqualityofsounds,anditisnometaphorwhentonesaredenominated
highandlow,longandshort,thinandmassive.Inmusic,soundsreturnaswell
asproceedtheydisplayintervalsaswellasprogression.Thereasonislikethat
alreadynotedregardingthesplendorordinginessofcolorsinpainting.They
belongtoobjectstheyarenotfloatingandisolated,andtheobjectstowhich
theybelongexistinaworldpossessedofextentandvolume.
Murmuringisofbrooks,whispering,andrustlingofleaves,ripplingofwaves,
roarofsurfandthunder,moaningandwhistlingofwind...andsoonindefinitely.
BythisstatementIdonotmeanthatthethinnessoftheflutesnoteandthe
massivepealoftheorganaredirectlyassociatedbyuswithparticularnatural
objects.ButIdomeanthatthesetonesexpressqualitiesofextensionbecause
onlyintellectualabstractioncanseparateaneventintimefromanextended
objectthatinitiatesorundergoeschange.Timeasemptydoesnotexisttimeas
anentitydoesnotexist.Whatexistsarethingsactingandchanging,anda
constantqualityoftheirbehavioristemporal.
Volume,likeroominess,isaqualityindependentofmeresizeandbulk.There
aresmalllandscapesthatconveytheabundanceofnature.Astilllifeof
C~zannes,withacompositionofpearsandapples,conveystheveryessenceof
volumeindynamicequilibriumbothtoanotherandtosurroundingspaceaswell.
Thefrail,thefragile,neednotbeexamplesofestheticweaknessthey,too,may
beembodimentsofvolume.Novels,poems,dramas,statues,buildings,

characters,socialmovements,arguments,aswellaspicturesandsonatas,are
markedbysolidity,massiveness,andthereverse.
Withoutthethirdproperty,spacing,occupancywouldbeajumble.Place,
position,determinedbydistributionofintervalsthroughspacing,isagreatfactor
ineffectingtheindividualizationofpartsalreadyspokenof.Butapositiontaken
hasanimmediatequalitativevalueandassuchisaninherentpartofsubstance.
Thefeelingofenergyandespeciallynotjustofenergyingeneralbutofthisor
thatpowerintheconcreteis

THECOMMONSUBSTANCEOFTHEARTS211

closelyconnectedwithrightnessinplacing.Forthereisanenergyofposition
aswellasofmotion.Andwhiletheformerissometimescalledpotentialenergy
~nphysicsindistinctionfromkineticenergy,asdirectlyfeltitisasactualasisthe
latter.Indeedintheplasticarts,itisthemeansbywhichmovementisexpressed.
Someintervals(determinedinalldirections,notmerelylaterally)arefavorableto
themanifestationofenergyothersfrustrateitsoperationboxingandwrestling
areobviousexamples.
Thingsmaybetoofarapart,tooneartogether,ordisposedatthewrong
angleinrelationtooneanother,toallowofenergyofaction.Awkwardnessof
compositionwhetherahumanbeingosinarchitecture,prose,orpaintingisthe
result.Meterinpoetryowesitsmoresubtleeffectstowhatitdoesinsecuringa
justpositionforvariouselementsanobviousinstancebeingitsfrequent
inversionoftheorderofprose.Thereareideasthatwouldbedestroyedifthey
werespacedbymeansofspondeesinsteadoftrochees.Toomuchdistanceor
tooundefinedanintervalinnovelanddramasetsattentionwanderingorputsit
tosleep,whileincidentsandcharacterstreadingononeanothersheelsdetract
fromtheforceofthemall.Certaineffectsthatdistinguishsomepaintersdepend
upontheirfinefeelingforspacingamatterquitedistinctfromuseofplanesto
conveyvolumesandbackgrounds.AsCezanneisamasterofthelatter,Corot
hasunerringtactfortheformerespeciallyinportraitsandsocalledItalian
paintingsascomparedwithhispopularbutrelativelyweaksilverylandscapes.
Wethinkoftranspositionparticularlyinconnectionwithmusic,butintermsof
mediaitcharacterizesequallypaintingandarchitecture.Therecurrenceof

relationsnotofelementsindifferentcontexts,whichconstitutestransposition
isqualitativeandhenceisdirectlyexperiencedinperception.
Theprogresswhichisnotnecessarilyanadvanceand,practicallyneveran
advanceinallrespectsoftheartsdisplayatransitionfrommoreobviousto
subtlermeansofexpressingposition.Inearlierliteraturepositionwasinaccord
(aswehavealreadynotedinanotherconnection)withsocialconventionand
economicandpoliticalclass.Itwaspositioninthesenseofsocialstatusthat
fixedtheforceofplaceintheoldertragedy.Distance

212

ARTASEXPERIENCE

wasalreadydeterminedoutsidethedrama.Inmoderndrama.withThsenas
theoutstandingexample,relationsofhusbandandwife,politicianand
democraticcitizenship,oldageandencroachingyouth(whetherbywayof
competitionorofseductiveattraction),contrastsofexternalconventionand
personalimpulse,forciblyexpressenergyofposition.
Thebustleandadoofmodernliferendernicetyofplacingthefeaturemost
difficultforartiststoachieve.Tempoistoorapidandincidentstoocrowdedto
permitofdecisivenessadefectfoundinarchitecture,drama,andfictionalike.
Theveryprofusionofmaterialsandthemechanicalforceofactivitiesgetinthe
wayofeffectivedistribution.Thereismoreofvehemencethanoftheintensity
thatisconstitutedbyemphasis.Whenattentionlackstheremissionthatis
indispensabletoitsoperations,itbecomesnumbasprotectionagainstits
recurrentoverstimuladon.Onlyoccasionallydowefindtheproblemsolvedasit
isinfictioninMannsMagicMountainandinarchitectureintheBushBuildingin
NewYorkCity.
Ihavesaidthatthethreequalitiesofspaceandtimereciprocallyaffectand
qualifyoneanotherinexperience.Spaceisinanesaveasoccupiedwithactive
volumes.Pausesareholeswhentheydonotaccentuatemassesanddefine
figuresasindividuals.Extensionsprawlsandfinallybenumbsifitdoesnot
interactwithplacesoastoassumeintelligibledistribution.Massisnothingfixed.
Itcontractsandexpands,assertsitselfandyields,accordingtoitsrelationsto
otherspatialandenduringthings.Whilewemayviewthesetraitsfromthe
standpointofform,ofrhythm,balanceandorganization,therelationswhich

thoughtgraspsasideasarepresentas
qualities
inperceptionandtheyinherein
theverysubstanceofart.
Therearethencommonpropertiesofthematterofartsbecausethereare
generalconditionswithoutwhichanexperienceisnotpossible.Aswesaw
earlier,thebasicconditionisfeltrelationshipbetweendoingandundergoingas
theorganismandenvironmentinteract.Positionexpressesthepoisedreadiness
ofthelivecreaturetomeettheimpactofsurroundingforces,tomeetsoasto
endureandtopersist,toextendorexpandthroughundergoingtheveryforces
that,apartfromitsresponse,areindifferentandhostile.Throughgoingoutinto
theenvironment,position

THECOMMONSUBSTANCEOFTHEARTS213

unfoldsintovolumethroughthepressureofenvironment,massisretracted
intoenergyofposition,andspaceremains,whenmatteriscontracted,asan
opportunityforfurtheraction.Distinctionofelementsandconsistencyof
membersinawholearethefunctionsthatdefineintelligencetheintelligibilityof
aworkofartdependsuponthepresencetothemeaningthatrenders
individualityofpartsandtheirrelationshipinthewholedirectlypresenttotheeye
andeartrainedinperception.

CHAPTERX

THEVARIEDSUBSTANCEOFTHEARTS

A
RTisaqualityofdoingandofwhatisdone.Onlyoutwardly,then,canitbe
designatedbyanounsubstantive.Sinceitadherestethemannerandcontentof
doing,itisadjectivalinnature.Whenwesaythattennisplaying,singing,acting,
andamultitudeofotheractivitiesarearts,weengageinanellipticalwayof
sayingthatthereisart
in
theconductoftheseactivities,andthatthisartso
qualifieswhatisdoneandmadeastoinduceactivitiesinthosewhoperceive
theminwhichthereisalsoart.The
product
ofarttemple,painting,statue,
poemisnotthe
work
ofart.Theworktakesplacewhenahumanbeing
coliperateswiththeproductsothattheoutcomeisanexperiencethatisenjoyed
becauseofitsliberatingandorderedproperties.Estheticallyatleast

.
wereceivebutwhatwegive,
Andinourlifealonedoesnaturelive
Oursisherweddinggarmentourshershroud.

Ifartdenotedobjects,ifitweregenuinelyanoun,artobjectscouldbe
markedoffintodifferentclasses.Artwouldthenbedividedintogeneraandthese
subdividedintospecies.Thissortofdivisionwasappliedtoanimalsaslongas
theywerebelievedtobethingsfixedinthemselves.Butthesystemof

classificationhadtochangewhentheywerediscoveredtobedifferentiationina
streamofvitalactivity.Classificationsbecamegenetic,designatingasaccurately
asmaybethespecialplaceofparticularformsinthecontinuityoflifeonearth.If
artisanintrinsicqualityofactivity,wecannotdivideandsubdivideit.Wecan
onlyfollowthedifferentiationoftheactivityintodifferentmodesasitimpingeson
differentmaterialsandemploysdifferentmedia.
214

THEVARIEDSUBSTANCEOFTHEARTS

215

Qualitiesasqualitiesdonotlendthemselvestodivision.Itwouldbe
impossibletonamethesubordinatesortsofevensweetandsour.Intheend
suchanattemptwouldbecompelledtoenumerateevery
thing
intheworldthatis
sweetorsour,sothattheallegedclassificationwouldbemerelyacataloguethat
idlyreduplicatesintheformofqualitieswhatwaspreviouslyknownintheform
ofthings.Forqualityisconcreteandexistential,andhencevarieswithindividuals
sinceitisimpregnatedwiththeiruniqueness.Wemayindeedspeakofred,and
thenoftheredofroseorsunset.Butthesetermsarepracticalinnature,givinga
certainamountofdirectionastowheretoturn.Inexistencenotwosunsetshave
exactlythesamered.Theycouldnothaveitunlessonesunsetrepeatedthe
otherinabsolutelycompletedetail.Fortheredisalwaystheredofthematerial
of
that
experience.
Logiciansforcertainpurposesregardqualitieslikered,sweet,beautiful,etc.,
asuniversals.Asformallogicians,theyarenotconcernedwithexistentialmatters
whicharepreciselywhatartists
are
concernedwith.Apainterknows,therefore,
thattherearenotworedsinapictureexactlylikeeachother,eachbeing
affectedbytheinfinitedetailofitscontextintheindividualwholeinwhichit
appears.Redwhenusedtosignifyrednessingeneralisahandie,amodeof
approach,adelimitationofactionwithinagivenregion,suchasbuyingredpaint
forabarnwhereanyredwithinlimitswilldo,orformatchingasampleinbuying
goods.
Languagecomesinfinitelyshortofparallelingthevane.gatedsurfaceof
nature.Yetwordsaspracticaldevicesaretheagenciesbywhichtheineffable
diversityofnaturalexistenceasitoperatesinhun~anexperienceisreducedto

orders,ranks,andclassesthatcanbemanaged.Notonlyisitimpossiblethat
IanguageshouldduplicatetheinfinitevarietyofindividualizedquaIl.tiesthat
exist,butitiswhollyundesirableandunneededthatitshoulddoso.Theunique
qualityofaqualityisfoundinexperienceitselfitisthereandsufficientlythere
nottoneedreduplicationinlanguage.Thelatterservesitsscientificorits
intellectualpurposeasitgivesdirectionsastohowtocomeuponthesequalities
inexperience.Themoregeneralizedandsimplethedirectionthebetter.The
moreuselesslydetailedthey

216

ARTASEXPERIENCE

are,themoretheyconfuseinsteadofguiding.Butwordsservetheirpoetic
purposeinthedegreeinwhichtheysummonand,~vokeintoactiveoperationthe
vitalresponsesthatarepresentwheneverweexperiencequalities.
Apoethasrecentlysaidthatpoetryseemedtohimmorephysicalthan
intellectual,andhegoesontosaythatherecognizespoetrybyphysical
symptomssuchasbristlingoftheskin,shiversinthespine,constrictionofthe
throat,andafeelinginthepitofthestomachlikeKeatsspeargoingthrough
me.IdonotsupposethatMr.Housmanmeansthatthesefeelings
are
the
poeticaleffect.Tobeathingandtobeasignofitspresencearedifferentmodes
ofbeing.Butjustsuchfeelings,andwhatotherwritershavecalledorganic
clicks,arethegrossindicationofcompleteorganicparticipation,whileitisthe
fullnessandimmediacyofthisparticipationthatconstitutestheestheticqualityof
anexperience,justasitisthatwhichtranscendstheintellectual.Forthisreason,
Ishouldquestiontheliteraltruthofthesayingthatpoetryis
more
physicalthan
intellectual.Butthatitismorethanintellectual,becauseitabsorbstheintellectual
intoimmediatequalitiesthatareexperiencedthroughsensesthatbelongtothe
vitalbody,seemstomesoindubitableastojustifytheexaggerationcontainedin
thesayingasagainsttheideathatqualitiesareuniversalsintuitedthroughthe
intellect.
Thefallacyofdefinitionistheothersideofthefallacyofrigidclassification,
andofabstractionwhenitismadeanendinitselfinsteadofbeingusedasan
instrumentforthesakeofexperience.Adefinitionisgoodwhenitissagacious,
anditisthatwhenitsopointsthedirectioninwhichwecanmoveexpeditiously
towardhavinganexperience.Physicsandchemistryhavelearnedbytheinward

necessityoftheirtasksthatadefinitionisthatwhichindicatestous
how
things
aremade,andinsofarenablestopredicttheiroccurrence,totestfortheir
presenceand,sometimes,tomakethemourselves.Theoristsandliterarycritics
havelaggedfarbehind.Theyarestilllargelyinthrallstotheancientmetaphysics
ofessenceaccordingtowhichadefinition,ifitiscorrect,disclosestoussome
inwardrealitythatcausesthethingtobewhatitisasamemberofaspeciesthat
iseternallyfixed.Thenthespeciesisdeclaredtobemorerealthananindividual,
orrathertobeitselfthetrueindividual.

THEVARIEDSUBSTANCEOFTHEARTS

217

Forpracticalpurposeswe
think
intermsofclasses,asweconcretely
experienceintermsofindividuals.Thusalaymanwouldprobablysupposethatit
isasimplemattertodefineavowel.Butaphoneticianiscompelledbyintimate
contactwithactualsubjectmattertorecognizethatastrictdefinition,strictinthe
senseofmarkingoffoneclassofthingsfromothersineveryrespect,isan
illusion.Thereareonlyanumberofmoreorlessusefuldefinitionsuseful,
becausedirectingattentiontosignificant
tendencies
inthecontinuousprocessof
vocalizationtendenciesthatifcarriedtoalimitofdiscretenesswouldyieldthis
orthatexactdefinition.
WilliamJamesremarkedonthetediousnessofelaborateclassificationof
thingsthatmergeandvaryasdohumanemotions.Attemptsatpreciseand
systematicclassificationoffineartsseemtometosharethistediousness.An
enumerativeclassificationisconvenientandforpurposesofeasyreference
indispensable.Butacataloguinglikepainting,statuary,poetry,drama,dancing,
landscapegardening,architecture,singing,musicalinstrumentation,etc.,etc.,
makesnopretensetothrowinganylightontheintrinsicnatureofthingslisted.It
leavesthatilluminationtocomefromtheonlyplaceitcancomefromindividual
worksofart.
Rigidclassificationsareinept(iftheyaretakenseriously)becausethey
distractattentionfromthatwhichisestheticallybasicthequalitativelyunique
andintegralcharacterofexperienceofanartproduct.Butforastudentof
esthetictheorytheyarealsomisleading.Therearetwoimportantpointsof
intellectualunderstandinginwhichtheyareconfusing.Theyinevitablyneglect
transitionalandconnectinglinksandinconsequencetheyputinsuperable

obstaclesinthewayofanintelligentfollowingofthehistoricaldevelopmentof
anyart.
Oneclassificationwhichhashadsomevogueisaccordingtosenseorgans.
Weshallseelaterwhatelementoftruthmayresideinthismodeofdivision.But
takenliterallyandrigidly,itcannotpossiblyyieldacoherentresult.Recentwriters
havedealtadequatelywithKantsefforttolimitthematerialoftheartstothe
higherintellectualsenses,eyeandear,andIshallnotrepeattheirconvincing
arguments.But,whentherangeofsensesisextendedinthemostcatholic
manner,itstillremainstruethata

218

ARTASEXPERIENCE

particularsenseissimplytheoutpostofatotalorganicactivityinwhichall
organs,includingthefunctioningoftheautonomicsystem,participate.Eye,ear,
touch,taketheleadinaparticularorganicenterprise,buttheyarenomorethe
exclusiveorevenalwaysthemostimportantagentthanasentinelisawhole
army.
Aparticularexampleoftheconfusionworkedbydivisionintoartsoftheeye
andearisfoundinthecaseofpoetry.Poemswereoncetheworkofbards.
Poetryasfarasweknowhadnoexistenceoutsidethespokenvoiceappealing
totheear.Itwassomethingsungorchanted.Itishardlynecessarytosayhow
farawaythegreatmassofpoetryhasgotfromsongsincetheinventionofwriting
andofprinting.Thereareevenattemptsatpresenttousethedeviceoffigures
madebyprintedformstointensifythesenseofapoemasitstrikestheeyelike
thetailofthemouseinAliceinWonderland.Butapartfromanyexaggeration,
whiletheheardmusicofsilentlyreadpoetryisstillafactor(illustratingthepoint
madeinthelastparagraph),poetryasamodeofliteratureisnowoutwardlyand
sensiblyvisual.Hasitthenmigratedfromoneclasstoanotherinthelasttwo
thousandyears?
Thenthereistheclassificationintoartsofspaceandtimethathasalready
beenmentioned.Nowevenifthisdivisionwerecorrect,itisonemadeafterthe
eventandfromtheoutside,andthrowsnolightupontheesthetic
content
ofany
workofart.Itdoesnotaidperceptionitdoesnottellwhattolookfor,norhowto
see,hear,andenjoy.Ithas,moreover,apositiveseriousdefect.Aswas
previouslypointedout,itdeniesrhythmtoarchitecturalstructures,statuesand
paintings,andsymmetrytosong,poetry,andeloquence.Andtheimplicationof

thedenialsisrefundtoacknowledgethethingmostfundamentaltoesthetic
experiencethatitisperceptual.Thedivisionismadeonthebasisoftraitsofart
productsasexternalandphysicalexistences.
AwriteronthefineartsinoneeditionoftheEncyclopediaBritannica
illustratesthisfallacysobeautifullyastomakeitpertinenttoquoteapassage.In
justifyingthedivisionoftheartsintospatialandtemporal,hesays,inspeakingof
astatueandbuilding:Whattheeyeseesfromanypointofviewitseesallat
onceinotherwords,thepartsofanythingweseefilloroccupynottimebut
space,andreachusfromvariouspointsin

THEVARIEDSUBSTANCEOFTHEARTS

219

spaceatasingleinstantaneousperception.Anditisadded:
Theirproducts(thatis,oftheartsofsculptureandarchitecture)arein
themselvessolid,stationary,andpermanent.
Anumberofambiguitiesandresultingmisconceptionsarecrowdedintothese
fewsentences.First,astotheallatonce.Anyobjectinspace(andallobjects
arespatial)sendsoutvibrationsallatonce,andthephysicalpartsoftheobject
occupyspaceallatonce.Butthesetraitsoftheobjecthavenothingtosayordo
indistinguishingonekindofperceptionfromanother.Spaceoccupancyisa
generalconditionoftheexistenceofanythingevenofaghostiftherebeone.It
isa
causal
conditionforhavinganyandeverysensation.Similarlyvibrations
sentoutfromanobjectarecausalconditionsofeverykindofperception
accordinglytheydonotmarkoutonekindofperceptionfromothers.
Thusatmostwhatreachesussimultaneouslyisthephysicalconditionsofa
perception,nottheconstituentsoftheobjectasperceived.Inferenceismadeto
thelatteronlythroughconfusionofsimultaneouswithsingle.Ofcourse,allthe
impressionsthatreachusfromanyobjectoreventmustbeintegratedintoone
perception.Theonlyalternativetosinglenessofperception,whethertheobject
beoneinspaceortime,isadisconnectedsuccessionofsnapshotsthatdonot
evenformcrosssectionsofanything.Thedifferencebetweenthatelusiveand
fragmentarythingpsychologistscallasensationandaperceptionisthe
singleness,theintegratedunity,ofthelatter.Simultaneityofbothphysical
existenceandphysiologicalreceptionhavenothingtodowiththissingleness.As
wasjustindicated,theycanbetakentobeidenticalonlywhenthecausal
conditionsofaperceptionareconfusedwiththeactualcontentoftheperception.

Butthefundamentalmistakeistheconfusionofthephysicalproductwiththe
estheticobject,whichisthatwhichisperceived.Physically,astatueisablockof
marble,nothingmore.Itisstationary,and,asfarastheravagesoftimepermit,
permanent.ButtQidentifythephysicallumpwiththestatuethatisaworkofart
andtoidentifypigmentsonacanvaswithapictureisabsurd.Whataboutthe
playoflightonabuildingwiththeconstantchangeofshadows,intensities,and
colors,andshiftingreflections?Ifthebuildingorstatuewereasstationary
in
per.ceptionasitisinphysicalexistence,theywouldbesodeadthat

220

ARTASEXPERIENCE

theeyewouldnotrestonit,butglanceby.Foranobjectisperceivedbya
cumulativeseriesofinteractions.Theeyeasthemasterorganofthewholebeing
producesanundergoing,areturneffectthiscallsoutanotheractofseeingwith
newalliedsupplementationswithanotherincrementofmeaningandvalue,and
soon,inacontinuousbuildingupoftheestheticobject.Whatiscalledthe
inexhaustibilityofaworkofartisafunctionofthiscontinuityofthetotalactof
perceiving.Simultaneousvisionisanexcellentdefinitionofaperceptionsolittle
estheticthatitisnotevenaperception.
Architecturalstructuresprovide,Ishouldimagine,theperfect
reductioad
absurdum
oftheseparationofspaceandtimeinworksofart.Ifanythingexistsin
themodeofspaceoccupancy,itisabuilding.Butevenasmallhutcannotbe
thematterofestheticperceptionsaveastemporalqualitiesenterin.Acathedral,
nomatterhowlarge,makesaninstantaneousimpression.Atotalqualitative
impressionemanatesfromitassoonasitinteractswiththeorganismthroughthe
visualapparatus.Butthisisonlythesubstratumandframeworkwithinwhicha
continuousprocessofinteractionsintroducesenrichinganddefiningelements.
ThehastysightseernomorehasanestheticvisionofSaintSophiaorthe
CathedralofRouenthanthemotoristtravelingatsixtymilesanhour
sees
the
ffittinglandscape.Onemustmoveabout,withinandwithout,andthrough
repeatedvisitsletthestructuregraduallyyielditselftohiminvariouslightsandIn
connectionwithchangingmoods.
Imayappeartohavedweltatunnecessarylengthuponanotveryimportant
statement.Buttheimplicationofthepassagequotedaffectsthewholeproblem
ofartasexperience.Aninstantaneousexperienceisanimpossibility,biologically

andpsychologically.Anexperienceisaproduct,onemightalmostsaya
byproduct,ofcontinuousandcumulativeinteractionofanorganicselfwiththe
world.Thereisnootherfoundationuponwhichesthetictheoryandcriticismcan
build.Whenanindividualdoesnotpermitthisprocesstoworkitselfoutfully,he
beginsatthepointofarresttosupplantexperienceoftheworkofartwith
unrelatedprivatenotions.Whatailsmuchesthetictheoryandcriticismis
accuratelydescribedinthefollowing:
Whenthecontinuouslyunfoldingprocessofcumulativeinter

THEVARIEDSUBSTANCEOFTHEARTS

221

actionanditsresultareneglected,anobjectisseeninonlyapartofits
totality,andtherestoftheorybecomessubjectivereverie,insteadofagrowth.It
isarrestedafterthefirstperceptionofpartialdetailtherestoftheprocessis
exclusivelycerebralaonesidedaffairthatacquiresmomentumonlyfrom
within.Itdoesnotincludethatstimulationfromenvironmentthatwoulddisplace
reverybyinteractionwiththeself.
*
Inanycase,thedivisionoftheartsintospatialandtemporalhastobeeked
outbyanotherclassification,thatintorepresentativeandnonrepresentative,a
divisionwithinwhicharchitectureandmusicarenowassignedtothelatter
genus.Aristotle,whogavetheconceptionthatartisrepresentativeitsclassic
formation,atleastavoidedthedualismofthisdivision.Hetooktheconceptof
imitationmoregenerouslyandmoreintelligently.Thushedeclaresthatmusicis
the
most
representativeofalltheartsthisbeingtheveryonethatsomemodern
theoristsrefertothewhollynonrepresentativeclass.Nordidhemeananything
sosillyasthatmusicrepresentsthetwitteringofbirds,lowingofcowsand
gurglingofbrooks.Hemeantthatmusicreproducesbymeansofsoundsthe
affections,theemotionalimpressions,thatareproducedbymartial,sad,
triumphant,sexuallyorgasmic,objectsandscenes.Representationinthesense
ofexpressioncoversallthequalitiesandvaluesofanypossibleesthetic
experience.
Architectureisnotrepresentativeifweunderstandbythattermreproduction
ofnaturalformsforthesakeoftheirreproductionassomehavesupposedthat
cathedralsrepresenthightreesinaforest.Butarchitecturedoesmorethan
merelyutilizenaturalforms,arches,pillars,cylinders,rectangles,portionsof

spheres.Itexpressestheircharacteristiceffectupontheobserver.Justwhata
buildingwouldbewhichdidnotuseandrepresentthenaturalenergiesofgravity,
stress,thrust,andsoon,mustbelefttothosetoexplainwhoregardarchitecture
asnonrepresentative.Butarchitecturedoesnotcombinerepresentationtothese
qualitiesofmatterandenergy.Itexpressesalsoenduringvaluesofcollective
humanlife.Itrepresentsthememories,hopes,fears,purposes,andsacred
valuesofthosewhobuildinordertoshelterafamily~provideanaltarforthe
gods,
*FromapersonalletterofDr.Bamestotheauthor.

222

ARTASEXPERIENCE

establishaplaceinwhichtomakelaws,orsetupastrongholdagainstattack.
Justwhybuildingsarecalledpalaces,castles,homes,cityhalls,forums,isa
mysteryifarchitectureisnotsupremelyexpressiveofhumaninterestsand
values.Apartfromcerebralreveries,itisselfevidentthateveryimportant
structureisatreasuryofstoriedmemoriesandamonumentalregisteringof
cherishedexpectanciesforthefuture.
Moreover,theseparationofarchitecture(music,too,forthatmatter)from
suchartsaspaintingandsculpturemakesamessofthehistoricaldevelopments
ofthearts.Sculpture(whichisacknowle~lgedtoberepresentative)wasforages
anorganicpartofarchitecture:witnessthefriezeoftheParthenon,thecarvings
ofthecathedralsofLincolnandChartres.Norcanitbesaidthatitsgrowing
independenceofarchitecturewithstatuesscatteredinparksandpublic
squaresandbustsplacedonpedestalsinroomsalreadyovercrowdedhas
coincidedwithanyadvanceintheartofsculpture.Paintingwasfirstadherentto
thewallsofcaves.Itlongcontinuedtobeadecorativeeffectofteniplesand
palaces,withoutandoninnerwalls.Frescoesweremeanttoinspirefaith,revive
pietyandinstructtheworshiperconcerningthesaints,heroes,andmartyrsofhis
religion.WhenGothicbuildingsleftlittlewallspaceformurals,stainedglassand
laterpanelpaintingstooktheirplacestillasmuchpartiofanarchitecturalwhole
aswerecarvingsonaltarandreredos.Whennoblesandmerchantprinces
beganthecollectionofpaintingsoncanvas,theywereusedtodecorate
wallssomuchsothattheywerefrequentlycutandtrimmedtomakethemfit
betterthepurposeofwallornamentation.Musicwasassociatedwithsong,and
itsdifferentiatedmodeswereadaptedtotheneedsofgreatcrisesandimportant

eventsdeath,marriage,war,worship,feasting.Withthepassageoftime,both
paintingandmusichaveceasedtobesubservienttospecialends.Sinceallthe
artshavetendedtoexploittheirownmediatothepointofindependence,thefact
canbebetterusedtoprovethatnoneoftheartsisliterallyimitativethanto
furnishareasonfordrawinghardandfastlinesbetweenthem.
Moreover,assoonaslineshavebeendrawn,thetheoristswhoinstitutethem
finditnecessarytomakeexceptionsandintroducetransitionalformsandevento
saythatsomeartsare

THEVARIEDSUBSTANCEOFTHEARTS

223

mixeddancing,forexample,beingbothspatialandtemporal.Sinceitisthe
natureofanyartobjecttobeitself,singleandunified,thisnotionofamixedart
maybesafelyregardedasa
reductioadabsurdum
ofthewholerigid
classificatorybusiness.Whatcansuchclassificationsmakeoutofsculpturein
relief,highandlow,ofmarblefiguresontombs,carvedonwoodendoorsand
castinbronzedoors?Whataboutcarvingsofcapitals,friezes,cornices,
canopies,brackets?Howdotheminorartsfitin,workingsinivory,alabaster,
plasterparis,terracotta,silverandgold,ornamentalironworkinbrackets,signs,
hinges,screensandgrills?Isthesamemusicnonrepresentativewhenplayedin
aconcerthallandrepresentativewhenitispartofasacramentalserviceina
church?

THEattemptatrigidclassificationanddefinitionisnotconfinedtothearts.A
likemethodhasbeerappliedtoestheticeffects.Muchingeniousefforthasbeen
spentinenumeratingthedifferentspeciesofbeautyafterbeautyitselfhashadits
essencesetforth:thesublime,grotesque,tragic,comic,poetic,andsoon.Now
thereareundoubtedlyrealitiestowhichsuchtermsapplyaspropernamesare
usedinconnectionwithdifferentmembersofafamily.Itispossibleforaqualified
persontosaythingsaboutthesublime,eloquent,poetic,humorous,that
enhanceandclarifyperceptionofobjectsintheconcrete.Itmayhelpinseeinga
Giorgionetopossessinadvanceadefinitesenseofwhatitistobelyricandin
listeningtoBeethovensmajorthemeintheFifthSymphonytocometoitwitha
clearconceptionofwhatforceisandisnotinthearts.But,unfortunately,esthetic

theoryhasnotbeencontentwithclarifyingqualitiesasmatterofemphasisin
individualwholes.Lerectedadjectivesintonounssubstantive,andthenplayed
dialecticaltunesuponthefixedconceptswhichemerge.Sincerigid
conceptualizationiscompelledtotakeplaceonthebasisofprinciplesandideas
thatareframedoutsideofdirectestheticexperience,allsuchperformances
affordgoodsamplesofcerebralrevery.
If,however,weregardsuchtermsaspicturesque,sublime,poetic,ugly,
tragic,asmarking
tendencies,
andhenceasadjectivalasaretheterms,pretty,
sugary,convincing,weshallbe

224

ARTASEXPERIENCE

ledbacktothefactthatartisaqualityofactivity.Likeanymodeofactivity,it
ismarkedby
movement
inthisdirectionandthat.Thesemovementsmaybe
discriminatedinsuchfashionthatourrelationtotheactivityinquestionis
renderedmoreintelligent.Atendency,amovement,occurswithincertainlimits
whichdefineitsdirection.Buttendenciesofexperiencedonothavelimitsthat
areexactlyfixedorthataremathematicallineswithoutbreadthandthickness.
Experienceistoorichandcomplextopermitsuchpreciselimitation.Thetermini
oftendenciesarebandsnotlines,andthequalitiesthatcharacterizethemforma
spectruminsteadofbeingcapableofdistributioninseparatepigeonholes.
Thusanyonecanselectpassagesofliteratureandsaywithouthesitationthis
ispoetic,thatisprosaic.Butthisassigningofqualitiesdoesnotimplythatthere
isoneentitycalledpoetryandanothercalledprose.Itimplies,oncemore,afelt
qualityofamovementtowaraalimit.Hencethequalityexistsinmanydegrees
andforms.Someofitslesserdegreesmanifestthemselvesinunexpected
places.Dr.HelenParkhurstquotesthefollowingfromaweatherreport:Low
pressureprevailswestoftheRockyMountains,inIdahoandsouthofthe
ColumbiaRiverasfarasNevada.Hurricaneconditionscontinuealongthe
MississippiValleyandintotheGulfofMexico.BlizzardsarereportedinNorth
DakotaandWyoming,snowandhailinOregonandzerotemperaturein
Missouri.HighwindsareblowingsoutheastwardfromtheWestIndiesand
shippingalongthecoastofBrazilbaareceivedawarning.
Noonewouldsaythatthepassageispoetry.Butonlypedanticdefinitionwill
denythatthereissomethingpoeticaboutit,dueinparttotheeuphonyofthe
geographicalterms,andmoretotransferredvaluestoaccumulationof

allusionsthatcreateasenseforthewidespaciousnessoftheearth,theromance
ofdistantandstrangecountries,andaboveallthemysteryofthevariedturmoil
oftheforcesofnatureinhurricane,blizzard,hail,snow,cold,andtempest.The
intentionisaprosaicstatementofweatherconditions.Butthewordsarecharged
withaloadthatgivesthemanimpulsiontowardthepoetic.Isupposethateven
equationscomposedofchemicalsymbolsmayundercertaincircumstancesofan
extensionofinsightintonaturehaveforsome

THEVARIEDSUBSTANCEOFTHEARTS

225

personsapoeticvalue,thoughinsuchcasestheeffectislimitedand
idiosyncratic.Butthatexperienceshavingdifferentmaterialsanddifferent
movementstowarddifferentkindsofconclusionswillhavedifferencesthatatthe
polesareasfarapartasthebaldlyprosaicandtheexcitedlypoetic,is
guaranteedinadvancetohappen.Forinsomecasesthetendencyisinthe
directionoffulfillmentofanexperienceasanexperience,whileinothercasesthe
resultmovedtowardisbutadepositforuseinanotherexperience.
Examinationoftheliteratureregardingthecomicandhumorouswillshow,I
think,thesametwofacts.Ononehand,incidentalandsideremarksmake
clearersomeparticulartendencyandmakethereadermorealiveand
discriminatinginactualsituations.Theseinstanceswillbeidenticalwithcases
whereantdjectivalquality,atendency,isundersurvey.Butthereareelaborate
andpainfuleffortstoestablisharigiddefinitionillustratedbyacollectionof
cases.Howcananyclassificationofgenusendspeciesreducetoconceptual
unitysuchavarietyoftendenciesasareindicatedbyevenafewofthetermsin
use:Laughable,ridiculous,ribald,amusing,funny,mirthful,farcical,diverting,
witty,hilariousjoking,fooling,makingfunof,makingsportof,mocking,
lettingdown?Ofcoursewithsufficientingenuityonemaystartfromadefinition,
likeincongruity,orfromasenseoflogicandproportionworkinginreverse,and
thenfindaspecificdifferentiaforeachvariety.Butitshouldbeevidentthatwe
arethenattendingadialecticalgame.
Ifweconfineourselvestooneaspectalone,theridiculous,
lerire,
thecomic
iswhatwelaughat.Butwealsolaughwithwelaughfromelation,sheerhigh
spirits,geniality,conviviality,fromscornandfromembarrassment.Whyconfine

allthesevariationsoftendencyinasinglehardandfastconcept?Notthat
conceptionsarenottheheartofthinking,butthattheirrealofficeisas
instrumentsofapproachtothechangingplayofconcretematerial,nottotiethat
materialdownintorigidimmobility.Sinceitistheincidentalmaterialratherthan
theformaldefinitionsthatactsasreenforcementsofperceptioninparticular
experience,thesideremarksexercisetherealofficeofeonception.
Finally,onthispoint,thenotionoffixedclassesandthatoffixedrules
inevitablyaccompanyeachother.Ifthereare,forexample,somanyseparate
genresinliterature,thenthereissome

226

ARTASEXPERIENCE

immutableprinciplewhichmarksoffeachkindandwhichdefinesaninherent
essencethatmakeseachspecieswhatitis.Thisprinciplemustthenbe
conformedtootherwisethenaturethatbelongstotheartwillbeviolatedand
badartwillbetheresult.Insteadofbeingfreetodowhathecanwiththe
materialathandandthemediaunderhiscontrol,theartistisbound,under
penaltyofrebukefromthecriticwhoknowstherules,tofollowthepreceptsthat
flowfromthebasicprinciple.Insteadofobservingsubjectmatter,heobserves
rules.Thusclassificationsetslimitstoperception.Ifthetheorythatunderliesitis
influential,itrestrictscreativework.Fornewworks,inthedegreeinwhichthey
arenew,donotfitintopigeonholesalreadyprovided.Theyareintheartswhat
heresiesareintheology.Thereareobstructionsenoughinanycaseintheway
ofgenuineexpression.Therulesthatattendclassificationaddonemore
handicap.Thephilosophyoffixedclassificationasfarasithasvogueamong
critics(whowhethertheyknowitornotaresubjectsofoneorotherofthe
positionsthatphilosophershaveformulatedmoredefinitely)encouragesall
artists,savethoseofunusualvigorandcourage,tomakesafetyfirsttheir
guidingprinciple.

THEtenoroftheforegoingisnotsonegativeasmightseematfirstsight.For
itcallsattentioninanindirectwaytotheimportanceofmediaandtotheir
inexhaustiblevariety.Wemaysafelystartanydiscussionofthevariedmatterof
theartswiththisfactofthedecisiveimportanceofthemedium:withthefactthat
differentmediahavedifferentpotenciesandareadaptedtodifferentends.Wedo

notmakebridgeswithputtynorusethemostopaquethingswecanfindtoserve
aswindowpanestotransmitsunlight.Thisnegativefactalonecompels
differentiationinworksofart.Onthepositiveside,itsuggeststhatcolordoes
somethingcharacteristicinexperienceandsoundsomethingelsesoundsof
instrumentssomethingdifferentfromthesoundofthehumanvoiceandsoon.At
thesametimeitremindsusthattheexactlimitsoftheefficacyofanymedium
cannotbedeterminedbyany&
priori
rule,andthateverygreatinitiatorinart
breaksdownsomebarrierthathadpreviouslybeensupposedtobeinherent.If,
moreover,weestablishthediscussiononthebasis

THEVARIEDSUBSTANCEOFTHEARTS

227

ofmedia,werecognizethattheyformacontinuum,aspectrum,andthat
whilewemaydistinguishartsaswedistinguishthesevensocalledprimary
colors,thereisnoattempttotellexactlywhereonebeginsandtheotherends
andalsothatifwetakeonecoloroutofitscontext,sayaparticularbandofred,it
isnolongerthesamecoloritwasbefore.
Whenweviewtheartsfromthestandpointofmediaofexpression,thebroad
distinctionthatconfrontsusisbetweentheartsthathavethehumanorganism,
themindbody,oftheartistastheirmediumandthosewhichdependtoamuch
greaterextentuponmaterialsexternaltothebody:automaticandshapingarts
socalled.*Dancing,singing,yarnspinningtheprototypeoftheliteraryartsin
connectionwithsongareexamplesofautomaticarts,andsoarebodily
scarifications,tattonings,etc.,andthecultivationofthebodybytheGreeksin
gamesandgymnasia.Cultivationofvoice,posture,andgesturethataddsgrace
tosocialintercourseisanother.
Sincetheshapingartsmustatfirsthavebeenidentifiedwithtechnological
arts,theywereassociatedwithworkandwithsomedegree,evenifslight,of
externalpressureincontrastwithautomaticartsasspontaneous,free
accompanimentsofleisure.Therefore,theGreekthinkersrankedthemashigher
thanthosewhichsubordinatedtheuseofthebodytodealwithexternalmaterials
bytheintermediationofinstruments.Aristotlereckonsthesculptorandthe
architectevenifoftheParthenonascraftsmenratherthanasartistsinthe
liberalsense.Moderntastetendstoreckonashigherthefineartsthatreshape
material,wheretheproductisenduringinsteadoffugitive,andiscapableof

appealingtoawidecircle,includingtheunborn,incontrastwiththelimitationof
singing,dancing,andoralstorytellingtoanimmediateaudience.
Butallrankingsofhigherandlowerare,ultimately,outofplaceandstupid.
Eachmediumhasitsownefficacyandvalue.Whatwecansayisthatthe
productsofthetechnologicalartsbecomefineinthedegreeinwhichtheycarry
overintothemselvessomethingofthespontaneityoftheautomaticarts.Except
inthecaseofworkdonebymachines,mechanicallytendedbyan
*Santayana,inhisReasoninArt,wasthefirst,Ithink,tomakedearthe
importanceofthisdistinction.

228

ARTASEXPERIENCE

operator,themovementsoftheindividualbodyenterintoallreshapingsof
material.Whenthesemovementscarryoverindealingswithphysicallyexternal
matterstheorganicpushfromwithinofanautomaticart,theybecome,insofar,
fine.Somethingoftherhythmofvitalnaturalexpression,somethingasitwere
ofdancingandpantomime,mustgointocarving,painting,andmakingstatues,
planningbuildings,andwritingstorieswhichisonemorereasonforthe
subordinationoftechniquetoform.
Eveninthecaseofthisbroaddistinctionofthearts,we~reinthepresenceof
aspectrumratherthanofseparateclasses.Cadencedspeechwouldnothave
developedfarinthedirectionofmusicwithouttheassistanceofreed,stringand
drum,andtheassistanceisnotexternal,sinceitmodifiedthematterofsong
itself.Thehistoryofmusicalformsisononesidethehistoryoftheinventionof
instrumentsandthepracticeofinstrumentation.Thatinstrumentsarenotmere
vehicles,likeaphonographicdisc,butallmediaare,isevidentinthewayin
whichthepiano,forexample,operatedinfixingthescalenowingeneraluse.
Similarlyprinthasactedorreactedtoprofoundlymodifythesubstanceof
literaturemodifying,bywayofasingleillustration,theverywordsthatformthe
mediumofliterature.Thechangeisindicatedontheunfavorablesidebythe
growingtendencytouseliteraryasatermofdisparagement.Spokenlanguage
wasneverliterarytillprintandreadingcameintogeneraluse.But,ontheother
side,evenifitbeadmittedthatnosingleworkofliteratureexcels.say,theIliad
(thougheventhatdoubtlessistheproductofanorganizationofpreviously
scatteredmaterialsnecessitatedbywritingandwiderpublication),yetprinthas

madeforanenormousextensionnotmerelyinbulkbutinqualitativevarietyand
subtiety,asidefromcompellinganorganizationthatdidnotpreviouslyexist.
However,Ihavenodesiretogointothismatterfurtherthantoindicatethat
eveninthisbroaddifferentiationofdifferentartsintoautomaticandshaping,we
areinthepresencealsoofintermediateforms,transitions,andmutual
influences,ratherthanofthecompartmentsofafilingcase.Theimportantthing
isthataworkofartexploit
its
mediumtotheuttermostbearinginmindthat
materialisnotmediumsavewhenusedasanorganofexpression.Thematerials
ofnatureandhumanassociationare

THEVARIEDSUBSTANCEOFTHEARTS

229

multifarioustothepointofinfinity.Wheneveranymaterialfindsamediumthat
expressesitsvalueinexperiencethatis,itsimaginativeandemotionalvalue
itbecomesthesubstanceofaworkofart.Theabidingstruggleofartisthusto
convertmaterialsthatarestammeringordumbinordinaryexperienceinto
eloquentmedia.Rememberingthatartitselfdenotesaqualityofactionandof
thingsdone,everyauthenticnewworkofartisinsomedegreeitselfthebirthofa
newart.
Ishouldsay,then,therearetwofallaciesofinterpretationinconnectionwith
thematterunderdiscussion.Oneistokeeptheartswhollyseparate.Theotheris
torunthemaltogetherintoone.Thelatterfallacyisfoundintheinterpretation
oftengivenbycriticswhocontentthemselveswiththetaginquotationofPaters
sayingthatallartsconstantlyaspiretotheconditionofmusic.Isay
interpretationsratherthanPaterhimself,becausethecompletepassageshows
thathedidnotmeanthateveryartisdevelopingtothepointwhereitwillgivethe
sameeffectthatmusicgives.Hethoughtthatmusicmostperfectlyrealizesthe
artisticidealofcompleteunionofformandmatter.
This
unionisthecondition
towhichotherartsaspire.Whetherheiscorrectornotinholdingthatmusicdoes
mostperfectlyrealizethisinterfusionofsubstanceandform,thereshouldnotbe
imputedtohimtheotheridea.For,amongotherthings,itisplainlyfalse.Since
hewrote,bothpaintingahdmusicitselfhavemovedinthedirectionofthe
architectonicandawayfromthemusicalinitslimitedsense:so,toa
considerableextent,haspoetryaswellaspainting.Anditisworthnotingthat
Paterspeaksofeveryartpassingintotheconditionofsomeother,musichaving
figures,curves,geometricalforms,weaving.

InshortwhatIshouldliketobringoutisthatsuchwordsaspoetic,
architectural,dramatic,sculptural,pictorial,literaryinthesenseofdesignating
thequalitybesteffectedbyliterature
designate
tendencies
thatbelonginsomedegreetoeveryart,because
theyqualifyanycompleteexperience,while,however,aparticularmediumis
bestadaptedtomakingthatstrainemphatic.Whentheeffectappropriatetoone
mediumbecomestoomarkedintheuseofanothermedium,thereisesthetic
defect.When,therefore,Iusethenamesofartsasnounsinwhatfollows.itwill
beunderstoodthatIhaveinmindarangeofobjects

230

ARTASEXPERIENCE

thatexpressacertainqualityemphaticaPYbutnotexclusively.Thetraitthat
characterizesarchitectureinanemphatic
senseisthatitsmediaarethe(relatively)rawmaterialsofnatureandofthe
fundamentalmodesofnaturalenergy.Itseffectsaredependentuponfeatures
thatbelongindominantmeasuretojustthesematerials.Allofthe~shapingarts
bendnaturalmaterialsandformsofenergytoservesonlehumandesire.There
isnothingdistinctiveinarchitecturewithrespecttothisgeneralfact.Butitis
singularlymarkedoffwitPrespecttothescopeanddirectnessofitsuseof
naturalforces.(~omparebuildingswithotherartisticproductsandyouareat
onc:estruckbytheindefinitelywiderangeofmaterialsitadoptstoits
endswood,stone,steel,cement,burntclay,glass,rushes,cement,as
comparedwiththerelativelyrestrictednumberofmaterialsavailableinpainting,
sculpture,poetry.Butequally~portantisthefactthatittakesthesematerials,so
tospeak,nea~~Itemploysmaterialsnotonlyonagrandscalebutatfirst
handnotthatsteelandbricksarefurnisheddirectlybynaturebutthattheyare
closertonaturethanarepigmentsandmusicainstruments.Ifthereisanydoubt
aboutthisfact,thereisnoxieaboutitsuseoftheenergiesofnature.Noother
productsexhibitstressesandstrains,thrustsandcounterthrusts,gravity,lighf~
cohesion,onascaleatallcomparabletothearchitectural,~dittakesthese
forcesmoredirectly,lessmediatelyandvicariously,thandoesanyotherart.It
expressesthestructuralconstitutipnofnatureitself.Itsconnectionwith
engineeringisinevitable.
Forthisreason,buildings,among~flartobjects,comethenearestto
expressingthestabilityandenduranceofexistence.Theyaretomountainswhat

musicistothesea.Becauseof.itsinherentpowertoendure,architecturerecords
4
an
celebratesmorethananyotherartthegenericfeaturesofodCcommon

humanlife.Therearethosewho,undertheinfluenced~theoretical
preconceptons,regardthehumanvaluesexpres#edinarchitectureesthetically
irrelevant,amereunavoidablec~nce5siontoutility.Thatbuildingsare
estheticallytheworsebecausetheyexpressthepompofpower,themajestyof
government,thesweetpietiesofdomesticrelations,thebusytrafficofcities,and
theadorationofworshipersisnotapparent.Thattheseendsenterorganically
intothestructureofbuildingsseemstooevidenttopermitofdis

THEVARIEDSUBSTANCEOFTHEARTS

231

cussion.Thatdegradationtosomespecialuseoftenoccursandisartistically
detrimentalisequallyclear.Butthereasonisthebasenessoftheend,orthefact
thatmaterialsarenotsohandledexpressinabalancedwayadaptationbothto
naturalandhumanconditions.
Thecompleteeliminationofhumanuse(asbySchopenhauer)illustratesthe
limitationofusetonarrowendsanditdependsuponignoringthefactthatfine
artisalwaystheproductinexperienceofaninteractionofhumanbeingswith
theirenvironment.Architectureisanotableinstanceofthereciprocityofthe
resultsofthisinteraction.Materialsaretransformedsoastobecomemediaof
thepurposesofhumandefense,habitation,andworship.Buthumanlifeitselfis
alsomadedifferent,andthisinwaysfarbeyondtheintentorcapacityofforesight
ofthosewhoconstructedthebuildings.Thereshapingofsubsequentexperience
byarchitecturalworksismoredirectandmoreextensivethaninthecaseofany
otherartsaveperhapsliterature.Theynotonlyinfluencethefuture,butthey
recordandconveythepast.Temples,colleges,palaces,homes,aswellasruins,
tellwhatmenhavehopedandstruggledfor,whattheyhaveachievedand
suffered.Thedesireofmantoliveonthroughhisdeeds,characteristicofthe
erectionofpyramids,isfoundinlessmassivewayineveryarchitecturalwork.
Thequalityisnotconfinedtobuildings.Forsomethingarchitecturalisfoundin
everyworkofartinwhichthereismanifestonabroadscaletheharmonious
mutualadaptationofenduringforcesofnaturewithhumanneedandpurpose.
Thesenseofstructurecannotbedissociatedfromthearchitectonic,andthe
architecturalexistsinanyworkwhetherofmusic,literature,painting,or
achitecture,initsspecificmeaning,whereinstructuralpropertiesarestrongly

manifest.Butinordertobeesthetic,structurehastobemorethanphysicaland
mathematical.Ithastobeusedwiththesupport,re~nforcement,andextension,
throughenduringtime,ofhumanvalues.Theappropriatenessofclingingivyto
somebuildingsillustratesthatintrinsicunityofarchitecturaleffectwithnature
whichisseenonalargerscaleinthenecessitythatbuildingsfitnaturallyinto
theirsurroundingstosecurefullestheticeffect.Butthisunconsciousvitalunion
mustbeparalleledbyanequalabsorptionofhumanvaluesintothecomplete
experiencedeffectofthebuild

232

ARTASEXPERIENCE

ing.Theugliness,forexample,ofmostfactorybuildingsandthehideousness
oftheordinarybankbuilding,whileitdependsuponstructuraldefectsonthe
technicallyphysicalside,reflectsaswelladistortionofhumanvalues,one
incorporatedintheexperienceconnectedwiththebuildings.Nomeretechnical
skillcanrendersuchbuildingsbeautifulastemplesoncewere.Firsttheremust
occurahumanetransformationsothatthesestructureswillspontaneously
expressaharmonyofdesiresandneedsthatdoesnotnowexist.
Sculpture,aswehavealreadynoted,iscloselyalliedwitharchitecture.Ithink
itisopentodoubtwhetherthesculpturaldissociatedfromthearchitecturalever
willreachgreatestheticheights.Itisdifficultnottofeelsomethingincongruousin
thesingleandisolatedstatueinthepublicsquareorpark.Surelystatuesare
mostsuccessfulwhentheyaremassive,monumental,andhavesomething
approachinganarchitecturalcontext,eventhoughitbebutanexpansivebench.
Sculpturemayincludeanumber,agreatnumberofdifferentfigures,asinthe
Elginmarbles.Butimaginethesefiguresintendedcollectivelytorepresenta
singleactionandyetphysicallydetachedfromoneanother,andyousummonup
animagethatevokesasmile.Yettherearedifferencesthatmarkoffthe
sculpturaleffectfromthearchitectural.
Sculptureselectsforemphasistherecordingandmonumentalaspectof
architecture.Itspecializes,sotosay,uponthememorial.Buildingsenterintoand
helpshapeanddirectlifedirectlystatuesandmonuments,astheyremindusof
theheroism,devotion,andachievementofthepast.Thegranitecolumn,the
pyramid,theobelisk,aresculpturaltheyarewitnessestothepast,not,however,
ofsubjectiontothevicissitudesoftimebutofpowertoendureandriseabove

timenobleorpatheticmanifestationsofsuchimmortalityasbelongstomortals.
Theotherdistinctionmarksamoredecisivedifference.Bothsculptureand
architecturemustpossessandmustexpressunity.Buttheunityofan
architecturalwholeisthatoftheconvergenceofavastmultitudeofelements.
Theunityofsculptureismoresingleanddefineditisforcedtobesoifonlyby
space.OnlyNegrosculpturehasattempted,throughsacrificeofalldirectly
associatedvalues,togivewithinanarrowcompassthecharacterofdesignthat
isinherentinaneffectivebuilding,accomplishingitbymeans

THEVARIEDSUBSTANCEOFTHEARTS

233

ofrhythmoflines,masses,andshapes.ButevenNegrosculpturehasbeen
compelledtoobservetheprincipleofsinglenessthedesignisbuiltoutofthe
connectedpartsofthehumanbody:head,armsandlegs,trunk.
Thissinglenessofmaterialandofpurpose(forevenaspecializedstructure
likeatempleservesacomplexofaims)makesitnecessaryforsculpturetolimit
itselftoexpressionofmaterialsthathaveasignificantandreadilyperceivedunity
oftheirown.Livingthingsonlyfulfillthisconditionanimalsandman,or,when
directlyadherenttobuildings,flowers,fruits,vinesandotherformsofvegetation.
Architectureexpressesthecollectivelifeofmanthehermit,thelonesoul,does
notbuildbutseeksacave.Sculptureexpresseslifeinitsindividualizedforms.
Therespectiveemotionaleffectsofthetwoartscorrespondwiththisprinciple.
Architectureissaidtobefrozenmusic,butemotionallythisholdsonlyofits
dynamicstructure,notoftheeffectofitssubstance.Uponthewhole,its
emotionaleffectisdependentuponorcloselyalliedtohumanaffairsinwhichthe
buildingparticipates.TheGreektempleistooremoteforustoexperiencemuch
morethantheeffectsofexquisitebalanceofnaturalforces.Butitisimpossible
uponenteringamedievalcathedralnottofeelaspartofittheusestowhichitis
historicallyputevenawesternerfeelssomethingofthesamesortinenteringa
Buddhisttemple.Iwouldnotusethewordborrowedofthelikeeffectsthat
belongtoexperienceofhomesandpublicbuildings,becausethevaluesaretoo
completelyincorporatedtomakethatwordapplicable.Butestheticvaluesin
architecturearepeculiarlydependentuponabsorptionofmeaningsdrawnfrom
collectivehumanlife.

Theemotionsarousedbysculptureareofnecessitythosebelongingtowhat
isdefinedandenduringexceptwhensculptureisusedforillustrativepurposes,
ausecongenialtothemedium.For,whilemusicandlyricpoetryareintrinsically
suitedtoexpressespecialthrobsandcrises(liketheoccasionswhichevoke
them),sculptureisanythingbutoccasionalincharacter,aslittlesoas
architecture.Sentimentsofthevague,transient,anduncertaindonotgowell
withthemetiium.Akintothearchitecturalinthisrespect,itdiffersfromitas,once
more,thesingulardiffersfromthecollective.Whatissaidaboutartas

234

ARTASEXPERIENCE

unionoftheuniversalandindividualispeculiarlytrueofsculpturesomuch
sothattheideathatthisunionprovidesaformulaorallworksofartprobablyhad
itssourceinGreekstatuary.MichaelAngelosMosesishighlyindividualized,but
itisnomoregenericthanitisepisodic,fortheuniversalissomethingquite
differentfromthegeneral.Theattitudeofthesculpturedfigurewithitsenergetic
butrestrainedforwardimpulsionexpressestheleaderwhoseesfromafarthe
promisedlandheknowshewillnotenter.Butitconveys,inahighly
individualizedvalueandfeeling,theeternaldisparityofaspirationand
achievenient.
Sculpturecommunicatesthesenseofmovementwithextraordinarilydelicate
energywitnessGreekdancingfiguresandtheWingedVictory.Butitis
movementarrestedinasingleandenduringpoiseascelebratedintheverses
ofKeatsnotthevicissitudesofmotionforwhichmusicistheincomparable
medium.Asenseoftimeisaninalienablepartofthenatureofsculpturaleffectin
itsownorformalright.Butitissenseoftimesuspended,notinsuccessionand
lapse.Inshort,theemotionstowhichthemediumisbestsuitedarefinish,
gravity,repose,balance,peace.Greeksculptureowesmuchofitseffecttothe
factthatitexpressestheidealizedhumanformsomuchsothatitsinfluence
uponsubsequentsculpturehasnotbeenaltogetherhappy,sinceithas
overweightedEuropeanstatuesandbusts,tillveryrecently,withatendencyto
expressionofidealizations,which,exceptatthehandsofmastersin
welladjustedconditions(likethoseofGreece),tendtothepretty,trivial,andthe
illustrationofwishfulfillments.Toportraythehumanformintheguiseofgods
andsemidivineheroesisnotanenterprisetobelightlyundertaken.

Evenachildsoonlearnsthatitisthroughlightthattheworldbecomesvisible.
Helearnsitassoonasheconnectstheblottingoutofscenesbeforehimwiththe
shuttingofhiseyes.Yetthistruism,whenitsforceisapprehended,saysmore
aboutthepeculiareffectofcolorasthemediumofpaintingthanwouldvolumes
ofverbalexpatiation.Forpaintingexpressesnatureandthehumansceneasa
spectacle,
andspectaclesexistbecauseoftheinteractionofthelivebeing,
centeredthroughtheeyes,withlight,pure,reflected,andrefractedintocolors.
Thepictorial(in

THEVARIEDSUBSTANCEOFTHEARTS

235

thissense)existsintheworksofmanyarts.Theplayoflightandshadeisa
vitalfactorinarchitecture,ofsculpturethathasnotbeentoomuchenslavedto
GreekmodelsandthecoloringoftheirstatuesbytheGreekswasperhapsa
compensation.Proseanddramaoftenattainthepicturesque,andpoetrythe
genuinelypictorial,thatisthecommunicationofthevisiblesceneofthings.Butin
thesearts,itissubduedandsecondary.Theefforttomakeitprimary,asin
imagism,doubtlesstaughtpoetssomethingnew,butitwassuchaforcingof
themediumthatitcouldendureonlyasanemphasis,notasadominantvalue.
Theobversetruthisthefactthat,whenpaintingsgobeyondthesceneand
spectacletotellastory,theybecomeliterary.~
Becausepaintingdealsdirectlywiththeworldasaview,adirectlyseen
world,itisevenlesspossibletodiscusstheproductsofthisartthanofanyother
intheabsenceofobjects.Picturescanexpresseveryobjectandsituation
capableofpresentationasascene.Theycanexpressthemeaningofevents
whenthelatterprovideasceneinwhichapastissummedupandafuture
indicated,providedthesceneissufficientlysimpleandcoherent.Otherwiseas,
forexample,inAbbeyspicturesinthePublicLibraryinBostonitbecomesa
document.Tosaythatitcanpresentobjectsandsituationsis,however,sofar
shortofitspowerastobemisleading,ifwedonotincludetheunrivaledabilityof
painttoconveythroughtheeyethequalitiesbywhichobjectsaredistinguished
andtheaspectsbywhichtheirverynatureandconstitutionisestablishedin
perceptionthefluidityofwater,thesolidityofrocks,thecombinedfrailtyand
resistanceoftrees,thetextureofclouds,andsothroughallthevariedaspectsby
whichweenjoynatureasaspectacleandanexpression.Becauseofthevery

reachofpainting,anattempttosetforththerangeofmaterialswithwhichitdeals
wouldbetogetinvolvedinanendlesscataloguing.Itisenoughthattheaspects
ofthespectacleofnatureareinexhaustible,andthateverysignificantnew
movementinpaintingisthediscoveryandexploitationofsomepossibilityof
visionnotpreviouslydevelopedasDutchpaintersgraspedtheintimatequality
ofinteriors,formingadesigninfurnishingsandperspectivesasRousseau
Dousnierelicitedthespatialrhyth~nofhomelyaswellasexoticscenesas
C~zanneresawthevolumeofnaturalforcesintheirdynamic

236

ARTASEXPERIENCE

relations,thestabilityofwholescomposedbyjustadaptationstooneanother
ofunstableparts.
Theearandeyecomplementoneanother.Theeyegivesthe
scene
inwhich
things
goon
andonwhichchangesareprojected~leavingitstillasceneeven
amidtumultandturmoil.Theear,takingforgrantedthebackgroundfurnishedby
cooperativeactionofvisionandtouch,bringshometouschangesaschanges.
Forsoundsarealwayseffectseffectsoftheclash,theimpactandresistance,of
theforcesofnature.Theyexpresstheseforcesintermsofwhattheydotoone
anotherwhentheymeetthewaytheychangeoneanother,andchangethe
thingsthatarehetheateroftheirendlessconflicts.Thelappingofwater,the
murmurofbrooks,therushingandwhistlingofwind,thecreakingofdoors,the
rustlingofleaves,theswishingandcrackingofbranches,thethudoffallen
objects,thesobsofdepressionandtheshoutsofvictorywhatarethese,
togetherwithallnoisesandsounds,butimmediatemanifestationofchanges
broughtaboutbythestruggleofforces?Everystirofnatureiseffectedbymeans
ofvibrations,butanevenuninterruptedvibrationmakesnosoundtheremustbe
interruption,impact,andresistance.
Music,havingsoundasitsmedium,thusnecessarilyexpressesina
concentratedwaytheshocksandinstabilities,theconifictsandresolutions,that
arethedramaticchangesenacteduponthemoreenduringbackgroundofnature
andhumanlife.Thetensionandthestrugglehasitsgatheringsofenergy,its
discharges,itsattacksanddefenses,itsmightywarringsanditspeaceful
meetings,itsresistancesandresolutions,andoutofthesethingsmusicweaves
itsweb.Itisthusattheoppositepolefromthesculptural.Asoneexpressesthe

enduring,thestableanduniversil,sotheotherexpressesstir,agitation,
movement,theparticularsandcontingenciesofexistenceswhich,
nevertheless,areasingrainedinnatureandastypicalinexperienceasareits
structuralpermanences.Withonlyabackgroundtherewouldbemonotonyand
deathwithonlychangeandmovementtherewouldbechaos,noteven
recognizedasdisturbedordisturbing.Thestructureofthingsyieldsandalters,
butitdoessoinrhythmsthataresecular,whilethethingsthatcatchtheearare
thesudden,abrupt,andspeedyinchange.

THEVARIEDSUBSTANCEOFTHEARTS

237

Theconnectionsofcerebraltissueswiththeearconstitutealargerpartofthe
brainthanthoseofanyothersense.Recurtotheliveanimalandthesavage,
andtheimportofthisfactisnotfartoseek.Itisatruismthatthevisiblesceneis
evidenttheideaofbeingclear,plain,isallonewithbeinginviewinplainsight
aswesay.Thingsinplainviewarenotofthemselvesdisturbingtheplainisthe
explained.Itconnotesassurance,confidenceitprovidestheconditions
favorabletoformationandexecutionofplans.Theeyeisthesenseof
distancenotjustthatlightcomesfromafar,butthatthroughvisionweare
connectedwithwhatisdistantandthusforewarnedofwhatistocome.Vision
givesthespreadoutscenethat
in
and
on
which,asIhavesaid,changetakes
place.Theanimaliswatchful,wary,invisualperception,butitisready,prepared.
Onlyinapaniciswhatisseendeeplyperturbing.
Thematerialtowhichtheearrelatesusthroughsoundisoppositeatevery
point.Sounds
come
fromoutsidethebody,butsounditselfisnear,intimateitis
anexcitationoftheorganismwefeeltheclashofvibrationsthroughoutour
wholebody.Soundstimulatesdirectlytoimmediatechangebecauseitreportsa
change.Afootfall,thebreakingofatwig,therustlingofunderbrushm~ysignify
attackorevendeathfromhostileanimalorman.Itsimportismeasuredbythe
careanimalandsavagetaketomakenonoiseastheymove.Soundisthe
conveyorofwhatImpends,ofwhatishappeningasanindicationofwhatislikely
tohappen.Itisfraughtmuchmorethanvisionwiththesenseofissuesaboutthe
impendingthereisalwaysanauraofindeterminatenessanduncertaintyall
conditionsfavorabletointenseemotionalstir.Visionarousesemotionintheform
ofinterestcuriositysolicitsfurtherexamination,butitattractsoritinstitotesa

balancebetweenwithdrawalandforwardexploringactionItissoundsthatmake
usjump.
Genericallyspeaking,whatis
seen
stiesemotionindirectly,through
interpretationandalliedidea.Soundagitatesdirectly,asacommotionofthe
organismitself.Hearingandsightareoftenclassedtogetherasthetwo
intellectualsenses.Inrealitytheintellectualrangeofhearingalthough
enormousisacquiredinitselftheearistheemotionalsense.Itsintellectual
scopeanddepthcomefromconnectionwithspeechtheyareasecondary

238

ARTASEXPERIENCE

andsotospeakartificialachievement,duetotheinstitutionoflanguageand
conventionalmeansofcommunication.Visionreceivesitsdirectextensionof
meaningfromconnectionwithothersenses,especiallywithtouch.Thedifference
worksbothways.Whatistrueofhearingontheintellectualsideistrueofseeing
ontheemotional.Architecture,sculpture,paintingcanstiremotionprofoundly.
Therightfarmhousecomeuponinacertainmoodmayconstrictthethroatand
maketheeyeswaterasdoesapoeticalpassage.Buttheeffectisbecauseofa
spiritandatmos~hereduetoassociationwithhumanlife.Apartfromthe
emotionaleffectofformalrelations,theplasticartsarouseemotionthrough
what
theyexpress.Soundshavethepowerofdirectemotionalexpression.Asoundis
itselfthreatening,whining,soothing,depressing,fierce,tender,soporific,inits
ownquality.
Becauseofthisimmediacyofemotionaleffect,musichasbeenclassedas
boththelowestandthehighestofthearts.Tosomeitsdirectorganic
dependenceandresonanceshaveseemedevidencethatitisclosetothelifeof
animalstheycancitethefactthatmusicofaconsiderabledegreeofcomplexity
hasbeensuccessfullyperformedbypersonsofsubnormalintelligence.The
appealofmusicofcertaingradesismuchmorewidespread,muchmore
independentofspecialcultivation,thanthatofanyotherart.Andonehasonlyto
observesomemusicalenthusiastsofacertainkindataconcerttoseethatthey
areenjoyinganemotionaldebauch,areleasefromordinaryinhibitionsandan
entranceintoarealmwhereexcitationsaregivenunrestrictedrein
HavelockEllisnotingthatmusicalperformancesareresortedtobysome
forobtainingsexualorgasms.Ontheotherside,therearetypesofmusic,those

mostprizedbyconnoisseurs,thatdemandspecialtrainingtobeperceivedand
enjoyed,anditsdevoteesformacult,sothat
their
artisthemostesotericofall
arts.
Becauseoftheconnectionsofhearingwithallpartsoftheorganism,sound
hasmorereverberationsandresonancesthananyothersense.Itisquitelikely
thattheorganiccausesthatrenderpersonsunmusicalareduetobreaksinthese
connectionsratherthantoinherentdefectsintheauditoryapparatusitself.What
hasbeensaidingeneralaboutthepowerofanarttotakeanatural,rawmaterial
andconvertit,throughselectionandorganiza

THEVARIEDSUBSTANCEOFTHEARTS

239

tion,intoanintensifiedandconcentratedmediumofbuildingupan
experience,applieswithparticularforcetomusic.Throughtheuseof
instruments,soundisfreedfromthedefinitenessithasacquiredthrough
associationwithspeech.Itthusrevertstoitsprimitivepassionalquality.It
achievesgenerality,detachmentfromparticularobjectsandevents.Atthesame
time,theorganizationofsoundeffectedthroughthemultitudeofmeansatthe
commandoftheartistsawiderrangetechnically,perhaps,thanofanyotherart
savearchitecturedeprivessoundofitsusualimmediatetendencytostimulatea
particularovertaction.Responsesbecomeinternalandimplicit,thusenriching
thecontentofperceptioninsteadofbeingdispersedinovertdischarge.Itiswe
ourselveswhoaretorturedbythestrings,asSchopenhauersays.
Itisthepeculiarityofmusic,andindeeditsglory,thatitcantakethequalityof
sensethatisthemostimmediatelyandintenselypracticalofallthebodilyorgans
(sinceitincitesmoststronglytoimpulsiveaction)andbyuseofformal
relationshipstransformthematerialintotheartthatismostremotefrompractical
preoccupationsItretainstheprimitivepowerofsoundtodenotetheclashof
attackingandresistingforcesandallaccompanyingphasesofemotional
movement.Butbytheuseofharmonyandmelodyoftone,itintroduces
incrediblyvariedcomplexitiesofquestion,uncertainty,andsuspensewherein
everytoneisorderedinreferencetootherssothateachisasummationofwhat
precedesandaforecastofwhatistocome.
Incontrastwiththeartssofarmentioned,literatureexhibitsoneuniquetrait.
Sounds,whicharedirectlyorassymbolizedinprint,theirmedium,arenot
soundsassuch,asinmusic,butsoundsthathavebeensubjectedto

transformingartbeforeliteraturedealswiththem.Forwordsexistbeforetheart
oflettersandwordshavebeenformedoutofrawsoundsbytheartof
communication.Itwouldbeuselesstotrytosumuptheendsthatspeechserves
beforeliteratureassuchexistscommand,guidance,exhortation,instruction,
warning.Onlyexclamationandinterjectionsretaintheirnativeaspectassounds.
Theartofliteraturethusworkswithloadeddiceitsmaterialischargedwith
meaningstheyhaveabsorbedthroughimmemorialtime.Itsmaterialthushasan
intellectualforcesuperiortothatofanyother

240

ARTASEXPERIENCE

art,whileitequalsthecapacityofarchitecturetopresentthevaluesof
collectivelife.
Thereisnotthegapbetweenrawmaterialandmaterialasmediuminletters
thatthereisinotherarts.Molierescharacterdidnotknowhehadbeentalking
proseallhislife.Someningeneralarenotawarethattheyhavebeenexercising
anartaslongastheyhaveengagedinspokenintercoursewithothers.One
reasonforthedifficultyindrawingalinebetweenproseandpoetryisdoubtless
thefactthatthematterofbothhasalreadyundergonethetransforminginfluence
ofart.Useofliteraryasatermofdisparagementsignifiesthatthemoreformal
arthasdepartedtoofarfromtheidiomofthepriorartfromwhichitdrawsits
sustenance.Allthefineartsinordernottobecomemerelyrefinedhavetobe
renewedfromtimetotimebyclosercontactwithmaterialsoutsidetheesthetic
tradition.Butliteratureinparticularistheonemostinneedofconstant
refreshmentfromthissource,sinceithasatcommandmaterialalreadyeloquent,
pregnant,picturesque,andgeneralinitsappeal,andyetmostsubjectto
conventionandstereotype.
Continuityofmeaningandvalueistheessenceoflanguage.Foritsustainsa
continuingculture.Forthisreasonwordscarryanalmostinfinitechargeof
overtonesandresonances.Transferredvaluesofemotionsexperiencedfroma
childhoodthatcannotbeconsciouslyrecoveredbelongtothem.Speechis
indeedthemothertongue.Itisinformedwiththetemperamentandthewaysof
viewingandinterpretinglifethatarecharacteristicofthecultureofacontinuing
socialgroup.Sincescienceaimstospeakatonguefromwhichthesetraitsare

eliminated,onlyscientificliteratureiscompletelytranslatable.Allofusshareto
someextentintheprivilegeofthepoetswho

speakthetongue
ThatShakespearespakethefaithandmoralshold
WhichMiltonheld.

Forthiscontinuityisnotconfinedtolettersinitswrittenandprintedform.The
grandamtellingstoriesofonceuponatimetochildrenatherkneepasseson
andcolorsthepastshepreparesmaterialforliteratureandmaybeherselfan
artist.The

THEVARIEDSUBSTANCEOFTHEARTS

241

capacityofsoundstopreserveandreportthevaluesofallthevaried
experiencesofthepast,andtofollowwithaccuracyeverychangingshadeof
feelingandidea,confersupontheircombinationsandpermutationsthepowerto
createanewexperience,oftentimesanexperiencemorepoignantlyfeltthanthat
whichcomesfromthingsthemselves.Contactswiththelatterwouldremainona
merelyphysicalplaneofshockwereitnotthatthingshaveabsorbedinto
themselvesmeaningsdevelopedintheartofcommunication.Intenseandvivid
realizationofthemeaningsoftheeventsandsituationsoftheuniversecanbe
achievedonlythrougha
medium
alreadyinstinctwithmeaning.Thearchitectural,
pictorial,andsculpturalarealwaysunconsciouslysurroundedandenrichedby
valuesthatproceedfromspeech.Itisimpossiblebecauseofthenatureofour
organicconstitutiontoexcludethiseffect.
Whilethereisnodifferencethatmaybeexactlydefinedbetweenproseand
poetry,thereisagulfbetweentheprosaicandpoeticasextremelimitingtermsof
tendenciesinexperience.Oneofthemrealizesthepowerofwordstoexpress
whatisinheavenandearthandundertheseasbymeansofextensiontheother
byintension.Theprosaicisanaffairofdescriptionandnarration,ofdetails
accumulatedandrelationselaborated.Itspreadsasitgoeslikealegaldocument
orcatalogue.Thepoeticreversestheprocess.Itcondensesandabbreviates,
thusgivingwordsanenergyofexpansionthatisalmostexplosive.Apoeni
presentsmaterialsothatitbecomesauniverseinitself,one,which,evenwhenit
isaminiaturewhole,isnotembryonicanyniorethanitislaboredthrough
argumentation.ThereissomethingseIfenciose~Jandselflimitinginapoem,

andthisselfsufficiencyisthereason,aswellastheharmonyandrhythmof
sounds,whypoetryis,nexttomusic,themosthypnoticofthe

Everywordinpoetryisimaginative,asindeeditwasinproseuntilwords
wererubbeddownbyattritioninusetobeWerecounters.Foraword,whenitis
notpurelyemotional,referstOsometh~ngabsentforwhichitstands.When
thingsarepresent,itisenoughtoignorethem,ortousethemandpointtothem.
Probablyevenpurelyemotionalwordsarenotexceptionstheemotiontheygive
venttomaybethattowardabsentobjects

242

ARTASEXPERIENCE

somassedthattheyhavelosttheirindividuality.Theimaginativeforceof
literatureisanintensificationoftheidealizingofficeperformedbywordsin
ordinaryspeech.Themostrealisticpresentationofascenebywordsputsbefore
us,afterall,thingsthat,fordirectcontact,arebutpossibilities.Everyideaisbyits
natureindicativeofapossibilitynotofpresentactuality.Themeaningitconveys
maybeactualatsometimeandplace.Butasentertainedinidea,themeaningis
forthatexperienceapossibilityitisidealinthestrictsenseoftheword:strict
sense,becauseidealisalsousedtodenotethefancifulandutopian,the
possibilitythatisImpossible.
Iftheidealisreallypresenttous,itspresencemustbeeffectedthroughthe
mediumofsense.Inpoetrythemediumandthemeaningseemtofuseasbya
pre~stablishedharmony,whichisthe
music
andeuphonyofwords.Musicin
thestrictsensetherecannotbe,sincepitchiswanting.Butthemusicalthereis,
sincewordsthemselvesareharshandsolemn,swiftandlanguorous,solemn
andromantic,broodingandflighty,inaccordwithmeaning.Thechapteron
soundofwordsinLascellesAbercrombiesTheTheoryofPoetryrendersdetail
superfluous,thoughIwouldcallespecialattentiontohisdemonstrationthat
cacophonyisasgenuineafactorasiseuphony.ForIthinkitfairtointerpretits
forceasevidencethatfluiditymustbebalancedwithstructuralfactorsthatin
themselvesareharsh,orelseitwillintheendbesugary.
Therearecriticswhoholdthatmusicoutrivalspoetryinitspowertoconveya
senseoflifeandphasesoflifeasweshoulddesirethemtobe.Icannot,
however,butthinkthatbytheverynatureofitsmediummusicisbrutallyorganic:
not,ofcourse,inthesenseinwhichbrutalsignifiesbeastly,butaswespeak

ofbrutefacts,ofthatwhichisundeniableandunescapable,becauseso
inevitablythere.Noristhisviewdisparagingtomusic.Itsvalueispreciselythatit
cantakematerialwhichisorganicallyassertiveandapparentlyintractable,and
makemelodyandharmonyoutofit.Asforpictures,whentheyaredominatedby
idealqualities,theybecomeweakfromexcessofpoeticqualitytheycrossthe
borderlineand,whencriticallyexamined,theymanifestalackofsenseofthe
mediumpaint.Butintheepic,lyric,thedramaticcomedyaswellastragedy

THEVARIEDSUBSTANCEOFTHEARTS

243

idealityincontrastwithactualityplaysanintrinsicandessentialpart.What
mightbeormighthavebeenstandsalwaysincontrastwithwhatisandhasbeen
inawayonlywordsarecapableofconveying.Ifanimalsarestrictrealists,itis
becausetheylackthesignsthatlanguageconfersonhumans.
Wordsasmediaarenotexhaustedintheirpowertoconveypossibility.
Nouns,verbs,adjectivesexpressgeneralizedconditionsthatistosay
character.
Evenapropernamecanbutdenotecharacterinitslimitationtoan
individualexemplification.Wordsattempttoconveythe
nature
ofthingsand
events.Indeeditisthroughlanguagethatthesehaveanatureoverandabovea
brutefluxofexistence.Thattheycanconveycharacter,nature,notinabstract
conceptualform,butasexhibitedandoperatinginindividualsismadeevidentin
thenovelanddrama,whosebusinessitistoexploitthisparticularfunctionof
language.Forcharactersarepresentedinsituationsthatevoketheirnatures,
givingparticularityofexistencetothegeneralityofpotentiality.Atthesametime
situationsaredefinedandmadeconcrete.Forallweknowofanysituationis
whatitdoestoandwithus:
that
is
its
nature.Ourconceptionoftypesof
characterandthemanifoldvariationsofthesetypesisduemainlytoliterature.
Weobserve,note,andjudgethepeopleaboutusintermsthatarederivedfrom
literature,including,ofcourse,biographyandhistorywithnovelanddrama.
Ethicaltreatisesinthepasthavebeenimpotentincomparisoninportraying
characterssothattheyremainintheconsciousnessofmankind.Thecorrelativity
ofcharacterandsituationisillustratedinthefactthatwheneversituationsareleft
inchoateandwavering,charactersarefoundtobevagueand
indefinite~somethingtobeguessedat,notembodied,inshortareuncharactered.

INwhathasbeensaid,Ihavetoucheduponthemestoeachofwhich
volumeshavebeendevoted.ForIhavebeenconcernedwiththevariousartsin
butonerespect.Ihavewishedtoindicatethat,aswebuildbridgesofstone,
steel,orcement,soeverymediumhasitsownpower,activeandpassive,
outgoingandreceptive,andthatthebasisfordistinguishingthedifferenttraitsof
theartsistheirexploitationoftheenergythatischaracteristic

244

ARTASEXPERIENCE

ofthematerialusedasamedium.Mostofwhatiswrittenaboutthedifferent
artsasdifferentseemstometobesaidfromtheinsidebywhichImeanit
takesthemediumasanexistingfactwithoutaskingwhyandhowitiswhatitis.
Literaturethuspresentsevidence,moreconvincingperhapsthanthatoffered
bytheotherarts,thatartisfinewhenitdrawsuponthematerialofother
experiencesandexpressesthefrmaterialinamediumwhichintensifiesand
clarifiesitsenergythroughtheorderthatsupervenes.Theartsaccomplishthis
resultnotbyselfconsciousintentionbutintheveryoperationofcreating,by
meansofnewobjects,newmodesofexperience.Everyartcommunicates
becauseitexpresses.Itenablesustosharevividlyanddeeplyinmeaningsto
whichwehadbeendumb,orforwhichwehadbuttheearthatpermitswhatis
saidtopassthroughintransittoovertaction.Forcommunicationisnot
announcingthings,eveniftheyaresaidwiththeemphasisofgreatsonority.
Communicationistheprocessofcreatingparticipation,ofmakingcommonwhat
hadbeenisolatedandsingularandpartofthemiracleitachievesisthat,in
beingcommunicated,theconveyanceofmeaninggivesbodyanddefinitenessto
theexperienceoftheonewhouttersaswellastothatofthosewholisten.
Menassociateinmanyways.Buttheonlyformofassociationthatistruly
human,andnotagregariousgatheringforwarmthandprotection,oramere
deviceforefficiencyinouteraction,istheparticipationinmeaningsandgoods
thatiseffectedbycommunication.Theexpressionsthatconstituteartare
communicationinitspureandundefiledform.Artbreaksthroughbarriersthat
dividehumanbeings,whichareimpermeableinordinaryassociation.Thisforce
ofart,commontoallthearts,ismostfullymanifestedinliterature.Itsmediumis

alreadyformedbycommunication,somethingthatcanhardlybeassertedofany
otherart.Theremaybeargumentsingeniouslyelaboratedandplausiblycouched
aboutthemoralandthehumanefunctionofotherarts.Therecanbenoneabout
theartofletters.

CHAPTERXI

THEHUMANCONTRIBUTION

BYTHEphrase,thehumancontribution,Imeanthoseaspectsand
elementsofestheticexperiencethatareusuallycalledpsychological.Itis
theoreticallyconceivablethatdiscussionofpsychologicalfactorsisnota
necessaryingredientofaphilosophyofart.Practically,itisindispensable.For
historictheoriesarefullofpsychologicalterms,andthesetermsarenotusedina
neutralsense,butarechargedwithinterpretationsreadintothembecauseof
psychologicaltheoriesthathavebeencurrent.Expungespecialmeaningsgiven
tosuchtermsassensation,intuition,contemplation,will,association,emotion,
andalargepartofestheticphilosophywoulddisappear.Moreover,eachoneof
thesetermshasdifferentmeaningsgiventoitbydifferentschoolsofpsychology.
Sensation,forexample,hasbeentreatedinwaysasfarapartasthenotionthat
itisthesoleoriginalconstituentofexperienceandtheideathatitisaheritage
fromlowformsofanimallife,andhencesomethingtobeminimizedinhuman
experience.Esthetictheoriesarefilledwithfossilsofantiquatedpsychologies
andareoverlaidwithdchrisofpsychologicalcontroversies.Discussionofthe
psychologicalaspectofestheticsisunavoidable.
Naturallythediscussionmustbeconfinedtothemoregenericfeaturesofthe
humancontribution.Becauseoftheindividualinterestandattitudeoftheartist,
becauseoftheindividualizedcharacterofeveryconcreteworkofart,the
specificallypersonalcontributionmustbesoughtinworksofartthemselves.But
inspiteoftheimmensedisparityoftheseuniqueproducts,thereisaconstitution
commontoallnormalindividuals.Theyhavethesamehands,organs,

dimensions,senses,affections,passionstheyarefedwiththesamefoods,hurt
bythesameweapons,subjecttothesamediseases,healedbythesame
remedies,warmedandcooledbythesamevariationsinclimate.
245

246

ARTASEXPERIENCE

Tounderstandthebasicpsychologicalfactorsandtoprotectourselves
againsttheerrorsoffalsepsychologiesthatplayhavocwithesthetic
philosophies,werecurtoourbasicprinciples:
Experienceisamatteroftheinteractionoforganismwithitsenvironment,an
environmentthatishumanaswellasphysical,thatincludesthematerialsof
traditionandinstitutionsaswellaslocalsurroundings.Theorganismbringswith
itthroughitsownstructure,nativeandacquired,forcesthatplayapartinthe
interaction.Theselfactsaswellasundergoes,anditsundergoingsarenot
impressionsstampeduponaninertwaxbutdependuponthewaytheorganism
reactsandresponds.Thereisnoexperienceinwhichthehumancontributionis
notafactorindeterminingwhatactuallyhappens.Theorganismisaforce,nota
transparency.
Becauseeveryexperienceisconstitutedbyinteractionbetweensubjectand
object,betweenaselfanditsworld,itisnotitselfeithermerelyphysicalnor
merelymental,nomatterhowmuchonefactorortheotherpredominates.The
experiencesthatareemphaticallycalled,becauseofthedominanceofthe
internalcontribution,mental,havereference,directorremote,toexperiencesof
amoreobjectivecharactertheyaretheproductsofdiscrimination,andhence
canbeunderstoodonlyaswetakeintoaccountthetotalnormalexperiencein
whichbothinnerandouterfactorsaresoincorporatedthateachhaslostits
specialcharacter.Inanexperience,thingsandeventsbelongingtotheworld,
physicalandsocial,aretransformedthroughthehumancontexttheyenter,while
thelivecreatureischangedanddevelopedthroughitsintercoursewiththings
previouslyexternaltoit.

Thisconceptionoftheproductionandstructureofanexperienceis,then,the
criterionthatwillbeusedtointerpretandjudgethepsychologicalconceptions
thathaveplayedachiefroleinesthetictheory.Isayjudge,orcriticize,because
somanyoftheseconceptionshavetheirsourceinaseparationoforganismand
environmentaseparationthatisallegedtobenativeandoriginal.
Experienceis
supposedtobesomethingthatoccursexclusivelyinsideaselformindor
consciousness,somethingselfcontainedandsustainingonlyexternalrelations
totheobjectivesceneinwhichithappenstobeset.Thenallpsychologicalstates

THEHUMANCONTRIBUTION

247

andprocessesarenotthoughtofasfunctionsofalivecreatureasitlivesin
itsnaturalsurroundings.
Whenthelinkageoftheselfwithitsworldisbroken,
thenalsothevariouswaysinwhichtheselfinteractswiththeworldceaseto
haveaunitaryconnectionwithoneanother.Theyfallintoseparatefragmentsof
sense,4feeling,desire,purpose,knowing,volition.
Intrinsicconnectionofthe
selfwiththeworldthroughreciprocityofundergoinganddoingandthefactthat
alldistinctionswhichanalysiscanintroduceintothepsychologicalfactorarebut
differentaspectsandphasesofacontinuous,thoughvaried,interactionofself
andenvironment,arethetwomainconsiderationsthatwillbebroughttobearin
thediscussionthatfollows.
Beforesettingoutonanydetaileddiscussion,Ishall,however,refertothe
wayinwhichsharppsychologicaldistinctionshistoricallyoriginated.Theywereat
firstformulationsofdifferencesfoundamongtheportionsandclassesofsociety.
Platoprovidesanalmostperfectexampleofthisfact.Heopenlyderivedhis
threefolddivisionofthesoulfromwhatheobservedinthecommunallifeofhis
day.Hedidconsciouslywhatmanypsychologistshavedoneintheir
classificationswithoutbeingawareoftheirsource,takingthemfromdifferences
sociallyobservablewhiletheythoughttoarriveatthembypureintrospection.
Frommindasitwasmanifestinthelargeprintversionofthecommunity,Plato
discriminatedthesensuouslyappetitiveandacquisitivefaculty,exhibitedinthe
mercantileclassthespiritedfaculty,thatofgenerousoutgoingimpulseandwill,
hederivedfromcitizensoldiersloyaltolawandrightbelief,evenattheexpense
oftheirpersonalexistencetherationalfacultyhefoundinthosewhowerefitfor

themakingoflaws.Hefoundthesesamedifferencesdominantindifferentracial
groups,theOriental,thenorthernbarbarians,andtheAthenianGreeks.
Therearenointrinsicpsychologicaldivisionsbetweentheintellectualandthe
sensoryaspectstheemotionalandideationaltheimaginativeandthepractical
phasesofhumannature.Butthereareindividualsandevenclassesof
individualsWhoaredominantlyexecutiveorreflectivedreamersoridealists
anddoerssensualistsandthehumanelymindedegoistsandunselfishthose
whoengageinroutinebodilyactivityandthosewhospecializeinintellectual
inquiry.Inabadlyordered

248

ARTASEXPERIENCE

societysuchdivisionsastheseareexaggerated.Thewellroundedmanand
womanaretheexception.
Butjustasitistheofficeofarttobeunifying,tobreak
throughconventionaldistinctionstotheunderlyingcommonelementsofthe
experiencedworld,whiledevelopingindividualityasthemannerofseeingand
expressingtheseelements,soitistheofficeofartintheindividualperson,to
composedifferences,todoawaywithisolationsandconflictsamongthe
elementsofourbeing,toutilizeoppositionsamongthemtobuildaricher
personality.Hencetheextraordinaryineptitudeofacompartmentalized
psychologytoserveasaninstrumentforatheoryofart.
Extremeinstancesoftheresultsofseparationoforganismandtheworldare
notinfrequentinestheticphilosophy.Suchaseparationliesbehindtheideathat
estheticqualitydoesnotbelongtoobjectsasobjectsbutisprojected
into

them
by

mind
.Itisthesourceofthedefinitionofbeautyasobjectifiedpleasure
insteadofaspleasureintheobject,somuch
in
itthattheobjectandpleasureare
oneandundividedintheexperience.Inotherfieldsofexperienceapreliminary
distinctionbetweenselfandobjectisnotonlylegitimatebutnecessary.An
investigatormustconstantlydistinguishasbesthecanbetweenthosepartsofan
experiencethatcomefromhimselfinthewayofsuggestionsandhypotheses,
andtheinfluenceofpersonaldesireforacertainresult,andthepropertiesofthe
objectinquiredinto.Improvementsinscientifictechniquearedevisedforthe
expresspurposeoffacilitatingthisdistinction.Prejudice,preconceptionsand
desireinfluencenativetendenciesinjudgmenttosuchanextentthatespecial
painsmustbetakentobecomeawareofthemsothattheymaybeeliminated.

Alikeobligationisimposeduponthoseengagedinmanipulationofmaterials
andexecutionofprojects.Theyneedtomaintaintheattitudeofsayingthis
belongstomewhilethatinhereslatheobjectsdealtwith.Otherwisetheywillnot
keeptheireyeupontheball.Thefuzzysentimentalistisonewhopermitshis
ownfeelingsandwishestocolorthatwhichhetakestobetheobject.Anattitude
thatisindispensabletosuccessinthinkingandlapracticalplanningand
executionbecomesadeepseatedhabit.Apersoncanhardlycrossastreet
wheretrafficisswiftandcrowdedsaveashekeepsinminddifferenceswhich
phi

THEHUMANCONTRIBUTION

249

losophersformulateintermsofsubjectandobject.
Theprofessional
thinker(andnaturallyheistheonewhowritestreatisesonesthetictheory)isthe
onewhoismostperpetuallyhauntedbythedifferencebetweenselfandthe
world.Heapproachesdiscussionofartwithareinforcedbias,andone,which,
mostunfortunately,isjusttheonemostfataltoestheticunderstanding.Forthe
uniquelydistinguishingfeatureofestheticexperienceisexactlythefactthatno
suchdistinctionofselfandobjectexistsinit,sinceitisestheticinthedegreein
whichorganismandenvironmentcooperatetoinstituteanexperienceinwhich
thetwoaresofullyintegratedthateachdisappears.
Whenanexperienceisoncerecognizedtobecausallydependentuponthe
wayinwhichselfandobjectsinteract,thereisnomysteryaboutwhatiscalled
projection.Whenalandscapeisseenasyellowwithyellowspectaclesorby
jaundicedeyes,thereisnoshootingofyellow,likeaprojectile,intothelandscape
fromtheself.Theorganicfactorincausalinteractionwiththeenvironmental
producestheyellowofthelandscape,inthesamewayinwhichhydrogenand
oxygenwheninteractingproducewaterthatiswet.
Awriteronpsychiatrytellsa
storyofamanwhocomplainedofthediscordantsoundofchurchbellswhenin
factthesoundwasmusical.Examinationshowedthathisbetrothedhadjiltedhim
tomarryaclergyman.Herewasprojectionwithavengeance.Not,however,
becausesomethingpsychicalwasmiraculouslyextrudedfromtheselfandshot
intothephysicalobject,butbecausethe
experience
ofthesoundofbellswas
dependentuponanorganismthatwassotwistedasto
act
abnormallyasafactor
incertainsituations.Projectioninfactisacaseoftransferredvalues,transfer
beingaccomplishedthroughtheorganicparticipationofabeingthathasbeen

madewhatitisandcausedtoactasitdoesthroughorganicmodificationsdueto
priorexperiences.
Itisafamiliarfactthatcolorsofalandscapebecomemorevividwhenseen
withtheheadupsidedown.Thechangeofphysicalpositiondoesnotcausea
newpsychicalelementtobeinjected,butitdoessignifythatasomewhat
differentorganismisacting,anddifferenceinthecauseisboundtomakea
differenceintheeffect.Instructorsindrawingstrivetobringaboutarecoveryof
theoriginalinnocencyoftheeye.Hereitisaquestion

250

ARTASEXPERIENCE

ofaffectingadisassociationofelementsthathave,inpriorexperience,gotso
boundtogetherthatanexperienceisinducedwhichworksagainstrepresentation
uponatwodimensionalsurface.Theorganismthatissettoexperienceinterms
oftouchhastobereconditionedtoexperiencespacerelationsasnearlyas
possibleintermsoftheeye.Thekindofprojectionusuallyinvolvedinesthetic
visioninvolvesananalogousrelaxationofastrainbuiltupinpursuitofspecial
endssothatthewholepersonalitymayinteractfreelywithoutdeflectionor
restrictionsoastoreachaparticularandpreconceivedoutcome.Firsthostile
reactionstoanewmodeinanartareusuallyduetounwillingnesstoperform
someneededdisassociation.
Themisconceptionofwhattakesplaceinwhatiscalledprojectionis,inshort,
whollydependentuponfailuretoseethatself,organism,subject,
mindwhatevertermisuseddenotesafactorwhichinteractscausallywith
environingthingstoproduceanexperience.Thesamefailureisfoundwhenthe
selfisregardedasthebearerorcarrierofanexperienceinsteadofafactor
absorbedinwhatisproduced,asoncemoreinthecaseofthegasesthat
producewater.When
control
offormationanddevelopmentofanexperienceis
needed,wehavetotreattheselfasitsbearerwehavetoacknowledgethe
causalefficacyoftheselfinordertosecureresponsibility.Butthisemphasis
upontheselfisforaspecialpurpose,anditdisappearswhentheneedfor
controlinaspecifiedpredetermineddirectionnolongerexistsasitassuredly
doesnotexistinanestheticexperience,althoughincaseofthenewinartitmay
beapreliminarytohavinganestheticexperience.

AsintelligentacriticasI.A.Richardsfallsintothefallacy.Hewrites:Weare
accustomedtosaythatthepictureisbeautifulinsteadofsayingthatitcausesan
experienceinuswhichisvaluableincertainways....Whenwhatweoughtto
sayisthatthey(certainobjects)causeeffectsinusofonekindoranother,the
fallacyofprojectingtheeffectandmakingitapartofthecausetendstorecur.
Whatisoverlookedisthatitis
not
thepaintingasa
picture
(thatis,theobjectin
estheticexperience)thatcausescertaineffects
inus.
Thepaintingasapicture
is
itself
atotal
effect
broughtaboutbytheinteractionofexternalandorganic
causes.Theexternalcausalfactorisvibra

THEHUMANCONTRIBUTION

251

tionsoflightfrompigmentsoncanvasvariouslyreflectedandrefracted.
Itis
ultimatelythatwhichphysicalsciencediscoversatoms,electrons,protons.
The
picture
istheintegraloutcomeoftheirinteractionwithwhatthemindthroughthe
organismcontributes.
Itsbeauty,which,IagreewithMr.Richards,issimplya
shorttermforcertainvaluedqualities,inbeinganintrinsicpartofthetotaleffect,
belongstothepicturejustasmuchasdotherestofitsproperties.
Thereferencetoinusisasmuchanabstractionfromthetotalexperience,
asontheothersideitwouldbetoresolvethepictureintomereaggregationsof
moleculesandatoms.Evenangerandhatearepartlycaused
by
usratherthan
in
us.Notthatwearethesolecause,butthatourownmakeupisacontributing
causalfactor.Itistruethatmostart,uptothetimeoftheRenascence,seemsto
usimpersonal,dealingwithuniversalphasesoftheexperiencedworld,in
comparisonwiththeroleoftheindividualsexperienceinmodemart.
Not
perhapstillthenineteenthcenturydid
consciousness
oftherightfulplaceofthe
strictlypersonalfactorplayanylargeroleinplasticandliteraryarts.Thenovelof
thestreamofconsciousnessmarksadefinitedateinthecourseofchanging
experience,asmuchsoasimpressionisminpainting.
Thelongercourseofevery
artismarkedbyshiftsofemphasis.Alreadyweareinthepresenceofareaction
towardtheimpersonalandtheabstract.Theseshiftsinartareconnectedwith
largerhythmsinhumanhistory.Buteventheartthatallowsleastplayto
individualvariationslike,say,thereligiouspaintingandsculptureofthetwelfth
centuryisnotmechanicalandhenceitbearsthestampofpersonalityandthe
classicistpaintingsoftheseventeenthcenturyreflect,likethoseofNicholas
Poussin,apersonalpredilectioninsubstanceandform,whilethemost

individualizedpaintingsnevergetawayfromsomeaspectorphaseofthe
objectivescene.
Variationsinwhatwemaycallthe
ratio
ofpersonalandimpersonal,
subjectiveandobjective,concreteandabstractfactors,areperhapsthevery
thingsthatleadthepsychologicalaspectofesthetictheoryandcriticismastray.
Writersineachperiodtendtotakeaswhatisuppermostinthearttendenciesof
theirowndayasthenormalpsychologicalbaseofallart.Theconsequenceis
thatthoseerasandaspectsofthepastandofalien

252

ARTASEXPERIENCE

countriesmostsimilaranddissimilartoexistingtendenciesundergowavesof
appreciationanddepreciation.Acatholicphilosophybasedonunderstandingof
theconstantrelationofselfandworldamidvariationsintheiractualcontents
wouldrenderenjoymentwiderandmoresympathetic.Wecouldthenenjoy
NegrosculptureaswellasGreekPersianpaintingsaswellasthoseofthe
sixteenthcenturybyItalianpainters.
Wheneverthebondthatbindsthelivingcreaturetohisenvironmentis
broken,thereisnothingthatholdstogetherthevariousfactorsandphasesofthe
self.Thought,emotion,sense,purpose,impulsionfallapart,andareassignedto
differentcompartmentsofourbeing.Fortheirunityisfoundinthecooperative
rolestheyplayinactiveandreceptiverelationstotheenvironment.
When
elementsunitedinexperienceareseparated,theresultingesthetictheoryis
boundtobeonesided.Imayillustratefromthevoguewhichtheconceptof
contemplation,understoodinanarrowway,hasenjoyedinesthetics.
Atfirst
sight,contemplationappearstobeaboutasineptatermascouldbeselected
todenotetheexcitedandpassionateabsorptionthatoftenaccompanies
experienceofadrama,apoem,orapainting.

(Similarly,identifyingreflective
thoughtasthepinnacleofcognitivedevelopmentisequallyinept)
Attentive
observationiscertainlyoneessentialfactorinallgenuineperceptionincluding
theesthetic.Buthowdoesithappenthatthisfactorisreducedtothebareactof
contemplation?
Theanswer,sofaraspsychologicaltheoryisconcerned,istobefoundin
KantsCritiqueofJudgment.Kantwasapastmasterinfirstdrawingdistinctions
andthenerectingthemintocompartmentaldivisions.Theeffectupon

subsequenttheorywastogivetheseparationoftheestheticfromothermodesof
experienceanallegedscientificbasisintheconstitutionofhumannature.Kant
hadreferredknowledgetoonedivisionofournature,thefacultyofunderstanding
workinginconjunctionwithsensematerials.Hehadreferredordinaryconduct,
asprudential,todesirewhichhaspleasureforitsobject,andmoralconductto
thePureReasonoperatingasademanduponPureWill.*Havingdisposedof
TruthandtheGood,itremainedtofindanicheforBeauty,theremainingtermin
theclassictrio.PureFeelingremained,beingpureinthesenseofbeing
isolatedand
*
TheeffectuponGermanthoughtofCapitalizationhashardlyreceived
properattention.

THEHUMANCONTRIBUTION

253

selfenclosedfeelingfreefromanytaintofdesirefeelingthatstrictly
speakingisnonempirical.SohebethoughthimselfofafacultyofJudgment
whichisnotreflectivebutintuitiveandyetnotconcernedwithobjectsofPure
Reason.ThisfacultyisexercisedinContemplation,andthedistinctivelyesthetic
elementisthepleasurewhichattendssuchContemplation.Thusthe
psychologicalroadwasopenedleadingtotheivorytowerofBeautyremote
fromalldesire,action,andstirofemotion.
AlthoughKantgivesnoevidenceinhiswritingsofanyspecialesthetic
sensitivity,itispossiblethathistheoreticemphasisreflectstheartistictendencies
oftheeighteenthcentury.
Forthatcenturywas,generallyspeaking,tilltowards
itsclose,acenturyofreasonratherthanofpassion,andhenceoneinwhich
orderandregularity,theinvariantelement,wasalmostexclusivelythesourceof
estheticsatisfactionasituationthatlentitselftotheideathatcontemplative
judgmentandthefeelingconnectedwithitarethepeculiardifferentiaofesthetic
experience.
Butifwegeneralizetheideaandextendittoallperiodsofartistic
endeavor,itsabsurdityisevident.Itnotonlypassesover,asifitwereirrelevant,
thedoingandmakinginvolvedintheproductionofaworkofart(andthe
correspondingactiveelementsintheappreciativeresponse),butitinvolvesan
extremelyonesidedideaofthenatureofperception.
IttakesasItscuetothe
understandingofperceptionwhatbelongsonlytotheactofrecognition,merely
broadeningthelattertoincludethepleasurethatattendsitwhenrecognitionis
prolongedandextensive.
Itisthusatheorypeculiarlyappropriatetoatimewhen
therepresentativenatureofartisespeciallymarkedandwhenthe

subjectmatterrepresentedisofarationalnatureregularandrecurrent
elementsandphasesofexistence.
Takenatitsbest,thatistosay,withaliberalinterpretation,contemplation
designatesthataspectofperceptioninwhichelementsofseekingandofthinking
aresubordinated(althoughnotabsent)totheperfectingoftheprocessof
perceptionitself.
Todefinetheemotionalelementofestheticperceptionmerely
asthepleasuretakenintheactofcontemplation,independentofwhatisexcited
bythemattercontemplated,results,however,inathoroughlyanemicconception
ofart.

(argumentalsoappliestotheoriesoflearningagoodexampleofhowthe
roleofemotionisdifferentforDewey)
Carriedtoitslogicalconclusion,itwould
excludefromestheticperceptionmostofthe

254

ARTASEXPERIENCE

subjectmatterthatisenjoyedinthecaseofarchitecturalstructures,the
drama,andthenovel,withalltheirattendentreverberations.
Notabsenceofdesireandthoughtbuttheirthoroughincorporationinto
perceptualexperiencecharacterizesestheticexperience,initsdistinctionfrom
experiencesthatareespeciallyintellectualandpractical.Theuniquenessof
theobjectperceivedisanobstacleratherthananaidtotheinvestigator.Heis
interestedinitasfarasitleadshisthoughtandobservationtosomethingbeyond
itselftohimtheobjectisdatumorevidence.Nordoesthemanwhose
perceptionis
dominated
bydesireorappetiteenjoyitforitsownsakehis
interestinitisbecauseofaparticularacttowhichasaconsequencehis
perceptionmayleaditisastimulus,ratherthananobjectinwhichperception
mayrestwithsatisfaction.Theestheticpercipientisfreefromdesireinthe
presenceofasunset,acathedral,orabouquetofflowersinthesensethathis
desiresarefulfilledintheperceptionitself.Hedoesnotwanttheobjectforthe
sakeofsomethingelse.
Inreading,say,KeatsSt.AgnesEve,thoughtisactivebutatthesametime
itsdemandsarefullymet.Therhythmofexpectancyandsatisfactionisso
internallycompletethatthereaderisnotawareofthoughtasaseparateelement,
certainlynotofitasalabor.Theexperienceismarkedbyagreaterinclusiveness
ofallpsychologicalfactorsthanoccursinordinaryexperiences,notbyreduction
ofthemtoasingleresponse.Suchareductionisanimpoverishment.Howcan
anexperiencethatisrichaswellasunifiedbereachedbyaprocessof
exclusion?Amanwhofindshimselfinafieldwithanangrybullhasbutone
desireandthought:toattainaplaceofsafety.Onceinsecurity,hemayenjoythe

spectacleofuntamedpower.Hissatisfactioninhispresentact,incontrastwith
thatoftheefforttoescape,maybecalledoneofcontemplationbutthelatteract
marksthefulfillmentofmanyobscureactivetendencies,andthepleasuretaken
isnotintheactofcontemplationbutinthefulfillmentofthesetendenciesinthe
subjectmatterperceived.Moreimageryandideasareincludedthanattendthe
actofescapewhileifemotionmeanssomething
conscious
andnotthemere
excitedenergyofescape,thereismuchmoreemotion.
(GooddiscussionofDeweysviewsonemotionandthought)
OnetroublewiththeKantianpsychologyisthatitsup

THEHUMANCONTRIBUTION

255

posesallpleasure,savethatofcontemplation,toconsistwhollyof
personalandprivategratification.Everyexperience,includingthemostgenerous
andidealistic,containsanelementofseeking,ofpressingforward.Onlywhen
wearedulledbyroutineandsunkinapathydoesthiseagernessforsakeus.
Attentionisbuiltoutofanorganizationofthesefactors,andacontemplationthat
isnotanarousedandintensifiedformofattentiontomaterialinperception
presentedthroughthesensesisanidlestare.
Sensationsarenecessarilyinvolved,andarenotmereexternalincidentsof
theactofperception.Thetraditionalpsychologythatputssensationfirstand
impulsionsecondreversestheactualstateofthecase.Weconsciously
experiencecolorsbecausetheimpulsetolookisperformedwehearsounds
becausewearesatisfiedinlistening.
Motorandsensorystructureformasingle
apparatusandeffectasinglefunction.Sincelifeisactivity,thereisalwaysdesire
wheneveractivityisobstructed.Apaintingsatisfiesbecauseitmeetsthehunger
forsceneshavingcolorandlightmorefullythandomostofthethingswithwhich
weareordinarilysurrounded.Inthekingdomofartaswellasofrighteousnessit
isthosewhohungerandthirstwhoenter.Theverydominanceofintense
sensuousqualitiesinestheticobjectsisitselfproof,psychologicallyspeaking,
thatappetitionisthere.
Seeking,desire,need,canbefulfilledonlythroughmaterialexternaltothe
organism.
Thehibernatingbearcannotliveindefinitelyuponitsownsubstance.
Ourneedsaredraftsdrawnupontheenvironment,atfirstblindly,thenwith
consciousinterestandattention.
Tobesatisfied,theymustinterceptenergyfrom
surroundingthingsandabsorbwhattheylayholdo
f.
(thetakinginofenergy,

undergoing)
Surplusenergy,socalled,oftheorganismonlyincreases
restlessnesssaveasitcanfeeduponsomethingobjective.
(Whileneedmaybe
associatedwiththedesiretohaveortake,asdescribedhere,itgeneratesan
outgoingofenergy)
Whileinstinctiveneedisimpatientandhurriestoits
discharge(asaspiderwhosespinningisinterferedwithwillspinitselftodeath),
impulsethathasbecomeconsciousofitselftarriestoamass,incorporate,and
digestcongenialobjectivematerial.*
Perceptionisthereforeatitslowestanditsmostobscure
*
ThereaderwillnotethatIamsayinghere,indifferentterms,what
was
foundtobeInvolvedintheExpressiveAct.

256

ARTASEXPERIENCE

inthedegreethatonlyinstinctiveneedoperates.Instinctisintoomuchhaste
tobesolicitousaboutitsenvironingrelations.Neverthelessinstinctivedemands
andresponsesserveadoublepurposeaftertransformationintoconscious
demandforcongenialmatterhassupervened.Manyimpulsesofwhichweare
notdistinctivelyawaregivebodyandbreadthtotheconsciousfocus.
Evenmore
importantisthefactthatprimitiveneedisthesourceofattachmenttoobjects.
Perceptionisbornwhensolicitudeforobjectsandtheirqualitiesbringsthe
organicdemandforattachmenttoconsciousness.
Ifwejudgeonthebasisof
productionofworksofart,insteadofthatofapreconceivedpsychology,the
absurdityofsupposingthatneed,desire,andaffectionareexcludedtogether
withactionfromestheticexperienceisevident,unlesstheartististheoneperson
whohasnoestheticexperience.Perceptionthatoccursforitsownsakeisfull
realizationofalltheelementsofourpsychologicalbeing.
Here,ofcourse,istheexplanationofthebalance,thecomposure,thatis
characteristicofmuchestheticappreciation.Aslongaslightstimulatesonlythe
eye,experienceofitisthinandpoor.Whenthetendencytoturntheeyesand
headisabsorbedintoamultitudeofotherimpulsesanditandtheybecomethe
membersofasingleact,allimpulsesareheldinastateofequilibrium.
Perceptioninsteadofsomespecializedreactionthenoccurs,andwhatis
perceivedischargedwithvalue.
(aresponsetobehaviorism?)
Thisstate
may
bedescribedasoneofcontemplation.Itisnotpractical,
if
by
practicalismeantanactionundertakenforaparticularandspecializedend
outsidetheperception,orforsomeexternalconsequence.*Inthelattercase,
perceptiondoesnotexistforitsownsakebutislimitedtoarecognitionexercised

ii~behalfofulteriorconsiderations.Butthisconceptionofpracticalisa
limitationofitssignificance.Notonlyisartitselfanoperationofdoingand
makinga
poiesis
expressedintheverywordpoetrybutestheticperception
demands,aswehaveseen,anorganizedbodyofactivities,includingthemotor
elementsnecessaryforfullperception.
Thechiefobjectiontotheassociationsusuallyconnected
*
Comparewhatwassaidaboutthedifferencebetweenexternalmeansanda
medium,p.i~7.

THEHUMANCONTRIBUTION

257

withthetermcontemplationis,ofcourse,itsseemingaloofnessfrom
passionateemotion.Ihavespokenofacertaininternalequilibriumofimpulsions
foundintheactofperception.Buteventhewordequilibriummaygiverisetoa
falseconception.Itmaysuggestabalancesocalmandsedateastoexclude
rapturebyanabsorbingobject.Itsignifies,infact,onlythatdifferentimpulsions
mutuallyexciteandreenforceoneanothersoastoexcludethekindofovert
actionthatleadsawayfromemotionalizedperception.Psychologically,
deepseatedneedscannotbestirredtofindfulfillmentinperceptionwithoutan
emotionandaffectionthat,intheend,constitutetheunityoftheexperience.And,
asIhavenotedinotherconnections,theemotionarousedattendsthe
subjectmatterthatisperceived,thusdifferingfromcrudeemotionbecauseitis
attachedtothemovementofthesubjectmattertowardconsummation.Tolimit
estheticemotiontothepleasureattendingtheactofcontemplationistoexclude
allthatismostcharacteristicofit.
ItisworthwhiletoquotefromKeatsapassagealreadycitedinpart:
Asto
thepoeticalcharacteritself...itisnotitselfithasnoself.Itiseverythingand
nothingitenjoyslightandshadeitlivesingusto,beitfairorfoul,highorlow,
richorpoor,meanorelevated.
Ithasasmuchdelightinconceivinganlagoasan
Imogen.Whatshocksthevirtuousphilosopherdelightsthechameleonpoet.It
doesnotharmfromitsrelishforthedarksideofthings,anymorethanfromits
tasteforthebrightone,becausetheybothendinspeculation[Imaginative
perception].Apoetisthemostunpoeticalofanythinginexistence,becausehe
hasnoidentityheiscontinuallyinandfor,andfillingsomeother......WhenI
aminaroomwithpeople,ifIameverfreefromspeculatingoncreationsofmy

ownbrain,then,notmyselfgoeshometomyself,buttheidentityofeveryonein
theroombeginstopressuponme,sothatIaminaverylittletime
annihilatednotonlyamongmenitwouldbethesameinanurseryofchildren.
Theideasofdisinterestedness,detachmentandpsychicaldistance,of
whichmuchhasbeenmadeinrecentesthetictheory,aretobeunderstoodinthe
samewayascontemplation.D15interestedness~~cannotsignify
uninterestedness.Butitmaybeusedasaroundaboutwaytodenotethatno
specializedinterest

258

ARTASEXPERIENCE

holdssway.Detachmentisanegativenameforsomethingextremely
positive.Thereisnoseveranceofself,noholdingofitaloof,butfullnessof
participation.Evenattachmentfailstoconveyfullytherightidea,foritsuggests
thatselfandtheestheticobjectcontinuetoexistseparatelyalthoughinclose
connection.Participationissothoroughgoingthattheworkofartisdetachedor
cutofffromthekindofspecializeddesirethatoperateswhenwearemovedto
consumeorappropriateathingphysically.
Thephrasepsychicaldistancehasbeenemployedtoindicatemuchthe
samefact.Theillustrationofthemanwhoenjoysthespectacleoftheangrybull
isinpoint.Heisnotovertlyengagedinthescene.Heisnotstirredtothe
performanceofaparticularandspecialactbeyondtheperceptionitself.Distance
isanameforaparticipationsointimateandbalancedthatnoparticularimpulse
actstomakeapersonwithdraw,acompletenessofsurrenderinperception.The
personwhoenjoysastormatseauniteshisimpulseswiththedramaofrushing
seas,roaringgaleandplungingship.Diderotsparadoxexemplifiesasimilar
situation.Anactoronthestageisnotcoldandunmovedinhispart,butimpulses
thatwouldbedominant,wereheactuallyinthescenesthatherepresents,are
transformedbycoordinationwiththeinterestsbelongingtohimasanartist.
Disinterestedness,detachment,psychicaldistance,all~xpressideasthatapply
torawprimitivedesireandimpulse,butthatareirrelevanttothematterof
experienceartisticallyorganized.
Thepsychologicalconceptionsthatareimpliedinrationalisticphilosophies
ofartareallassociatedwithafixedseparationofsenseandreason.Theworkof
artissoobviouslysensuousandyetcontainssuchwealthofmeaning,thatitis

definedasacancellationoftheseparation,andasanembodimentthrough
senseofthelogicalstructureoftheuniverse.Ordinarily,andapartfromfineart,
accordingtothetheory,senseconcealsanddistortsarationalsubstancethatis
therealitybehindappearancestowhichsenseperceptionislimited.The
imagination,bymeansofart,makesaconcessiontosenseinemployingits
materials,butneverthelessusessensetosuggestunderlyingidealtruth.Artis
thusawayofhavingthesubstantialcakeofreasonwhilealsoenjoyingthe
sensuouspleasureofeatingit.

THEHUMANCONTRIBUTION

259

But,infact,thedistinctionofqualityassensuousandmeaningasideational
isnotprimarybutsecondaryandmethodological.Whenasituationisconstrued
asbeingorascontainingaproblem,wesetfactsthataregiventhrough
perceptionononesideandpossiblemeaningsforthesefactsontheother.The
distinctionisanecessaryinstrumentalityofreflection.Thedistinctionbetween
someelementsofsubjectmatterasrationalandothersassensibleisalways
intermediaryandtransitive.Itsofficeistoleadintheendtoaperceptual
experienceinwhichthedistinctionisovercomeinwhichwhatwereonce
conceptionsbecometheinherentmeaningsofmaterialmediatedthroughsense.
Evenscientificconceptionshavetoreceiveembodimentinsenseperceptionto
beacceptedasmorethanideas.
Allobservedobjectsthatareidentifiedwithoutreflection(althoughtheir
recognitionmaygiverisetofurtherreflection)exhibitanintegralunionofsense
qualityandmeaninginasinglefirmtexture.Werecognizewiththeeyethegreen
oftheseaasbelongingtothesea,nottotheeye,andasadifferentqualityfrom
thegreenofaleafandthegrayofarockasdifferentinqualityfromthatofthe
lichengrowinguponit.Inallobjectsperceivedforwhattheyarewithoutneedfor
reflectiveinquiry,thequality
is
whatitmeans,namely,theobjecttowhichit
belongs.Arthasthefacultyofenhancingandconcentratingthisunionofquality
andmeaninginawaywhichvivifiesboth.Insteadofcancelingaseparation
betweensenseandmeaning(assertedtobepsychologicallynormal),it
exemplifiesinanaccentuatedandperfectedmannertheunioncharacteristicof
manyotherexperiencesthroughfindingtheexactqualitativemediathatfuse
mostcompletelywithwhatistobeexpressed.Theremarkpreviouslymade

concerningdifferingratiosofthetwofactorsisapplicableinthisconnection.
Therearewholeperiodsofart,aswellasindividualworks,inwhichoneelement
predominatesascomparedwiththeother.Butwhentheresultisart,integration
isalwayseffected.Inimpressionisticpainting,animmediatequalitydominates.In
Cezanne,relations,meanings,withtheirinevitabletendencytowardabstraction,
dominate.But,nevertheless,whenCezannesucceedsestheticallytheworkis
accomplishedwhollyintermsofthequalitativeandsensuousmedium.

260

ARTASEXPERIENCE

ORDINARYexperienceisofteninfectedwithapathy,lassitudeand
stereotype.Wegetneithertheimpactofqualitythroughsensenorthemeaning
ofthingsthroughthought.Theworldistoomuchwithusasburdenor
distraction.Wearenotsufficientlyalivetofeelthetangofsensenoryettobe
movedbythought.Weareoppressedbyoursurroundingsorarecalloustothem.
Acceptanceofthissortofexperienceasnormalisthechiefcauseofacceptance
oftheideathatartcancelsseparationsthatinhereinthestructureofordinary
experience.Wereitnotfortheoppressionsandmonotoniesofdailyexperience,
therealmofdreamandreverywouldnotbeattractive.Nocompleteandenduring
suppressionofemotionispossible.Repelledbythedrearinessandindifference
ofthingswhichabadlyadjustedenvironmentforcesuponus,emotionwithdraws
andfeedsuponthingsoffantasy.
(Animportantdistinctionbetweenrealityand
fantasybasedexperience)
Thesethingsarebuiltupbyanimpulsiveenergythat
cannotfindoutletintheusualoccupationsofexistence.Itmaywellbeunder
suchcircumstancesthatmultitudeshaverecoursetomusic,theaterandthe
noveltofindeasyentranceintoakingdomoffreefloatingemotions.Butthisfact
isnogroundfortheassertionbyphilosophictheoryofaninherentpsychological
separationofsenseandreason,desireandperception.
When,however,theoryframesitsconceptionofexperiencefromthe
situationsthatdrivesomanypersonstofindreliefandexcitationinthepurely
fanciful,itisinevitablethattheideaofthepracticalshouldstandinoppositionto
thepropertiesthatbelongtoaworkofart.Muchofthecurrentoppositionof
objectsofbeautyandusetousetheantithesismostfrequentlyusedisdueto
dislocationsthathavetheiroriginintheeconomicsystem.Templeshaveause

thepaintingsinthemhaveausethebeautifulcityhallsfoundinmanyEuropean
citiesareusedfortheconductofpublicbusiness,anditisnotnecessaryto
rehearsethemultitudeofthingsproducedbypeopleswecallsavagesand
peasantswhichcharmtheeyeandtouchaswellasservetheutilitiesof
partakingoffoodandofprotection.Thecommonestcheapplateandbowlmade
byaMexicanpotterfordomesticusehasitsownunstereotypedcharm.
Ithasbeencontended,however,thatthereisapsychologicalopposition
betweenobjectsemployedforpracticalpurposesandthosethatcontributeto
directintensityandunityof

THEHUMANCONTRIBUTION

261

experience.Ithasbeenurgedthatthereisanantithesisintheverystructure
ofourbeingbetweenthefluentactionofpracticeandthevividconsciousnessof
estheticexperience.Itissaidthatproductionanduseofgoodsinvolvethe
workerandtheuserinactionthatisfluentinthesenseofbeingasmechanical
andautomaticaspossible,whiletheintenseandrobustconsciousnessofawork
ofartdemandsthepresenceofresistancesthatinhibitsuchaction.*Aboutthe
latterfactthereisnodoubt.
Itisstatedthatutensilscanonly,throughsomeceremonialeffort,orwhen
importedfromsomefartimeorcountries,becomethesourceofheightened
consciousness,becauseweflowfromautensilsmoothlyintotheactionforwhich
itisdesigned.Asfortheproducerofutensils,thefactthatsomanyartisansinall
timesandplaceshavefoundandtakentimetomaketheirproductsesthetically
pleasingseemstomeasufficientanswer.Idonotseehowtherecouldbebetter
proofthatprevailingsocialconditions,underwhichindustryiscarriedon,arethe
factorsthatdeterminetheartisticornonartisticqualityofutensils,ratherthan
anythinginherentinthenatureofthings.Asfarastheonewhousestheutensil
isconcerned,Idonotseewhyindrinkingteafromacupheisnecessarily
estoppedfromenjoyingitsshapeandthedelicacyofitsmaterial.Noteveryone
gulpshisfoodanddrinkintheshortestpossihietimeinobediencetosome
necessarypsychologicallaw.
Justasthereismanyamechanicunderpresentindustrialconditionswho
stopstoadmirethefruitofhislabors,holdingitofftoadmireitsshapeand
textureandnotmerelytoexamineintoitsefficiencyforpracticalpurposes,and
asthereismanyamillineranddressmakerwhoisthemoreengagedinherwork

becauseofappreciationofitsestheticqualities,sothosewhoarenotcrowdedby
economicpressure,orwhohavenotgivenwaycompletelytohabitsformedin
workingonamovingbeltinaspeededupindustry,haveavividconsciousness
intheveryprocessofusingutensils.Isupposeallofushaveheardsomemen
boastofthebeautyoftheircarsandoftheestheticqualities

*
Thedivisionbetweenfineandusefularthasmanysupporters.The
PSychoIopc~argumenttowhichthetextrefersisthatofMaxEsatmaninhis
LiteraryMind,pp.
205.206.
Astothenatureoftheestheticexperience,Iamglad
tofindmyself
in
closeaccordwithwhathesays.

262

ARTASEXPERIENCE

ofitsperformance,eventhoughfewerinnumbersthanthosewhobragofthe
numberofmilesitcancoverinagiventime.
Thecompartmentalizedpsychologythatholdstoanintrinsicseparation
betweencompletenessofperceptualexperienceis,then,itselfareflectionof
dominantsocialinstitutionsthathavedeeplyaffectedbothproductionand
consumptionoruse.Wheretheworkerproducesindifferentindustrialconditions
fromthosewhichprevailtoday,hisownimpulsionstendinthedirectionof
creationofarticlesofusethatsatisfyhisurgeforexperienceasheworks.It
seemstomeabsurdtosupposethatpreferenceformechanicallyeffective
executionbymeansofcompletelysmoothrunningmentalautomatisms,andat
theexpenseofquickenedconsciousnessofwhatheisabout,isingrainedin
psychologicalstructure.Andifourenvironment,asfarasitisconstitutedby
objectsofuse,consistedofthingsthatarethemselvescontributorytoa
heightenedconsciousnessofsightandtouch,Idonotthinkanyonewould
supposethattheactofuseissuchastobeanesthetic.
Asufficientrefutationoftheideainquestionissuppliedbytheactionofthe
artisthimself.Ifpainterandsculptorhaveanexperienceinwhichactionisnot
automatic,butemotionallyandimaginativelydyed,thereisinthatonefactproof
oftheinvalidityofthenotionthatactionissofluentastoexcludetheelementsof
resistanceandinhibitionnecessarytoheightenedconsciousness.Theremay
havebeenatimewhenthescientificinquirersatstillinhischairtoexcogitate
science.Nowhisactionoccursinaplacesignificantlycalledalaboratory.Ifthe
actionofateacherissofluentastoexcludeemotionalandimaginative
perceptionofwhatheisdoing,hemaybesafelysetdownasawoodenand

perfunctorypedagogue.Thesameistrueofanyprofessionalman,alawyeror
doctor.Notonlydosuchactionsdemonstratethefalsityofthepsychological
principlelaiddown,buttheirexperiencesoftenbecomedefinitelyestheticin
nature.Thebeautyofaskilledsurgicaloperationisfeltbytheoperatoraswellas
byanonlooker.

POPULARpsychologyandmuchsocalledscientificpsychologyhavebeen
prettythoroughlyinfectedbytheideaoftheseparate

THEHUMANCONTRIBUTION

263

nessofmindandbody,Thisnotionoftheirseparationinevitablyresultsin
creatingadualismbetweenmindandpractice,sincethelattermustoperate
throughthebody.Theideaoftheseparationperhapsarose,inpartatleast,from
thefactthatsomuchofmindatagiventimeisalooffromaction.Theseparation,
whenitisoncemade,certainlyconfirmsthetheorythatmind,soul,andspiritcan
existandgothroughtheiroperationswithoutanyinteractionoftheorganismwith
itsenvironment.Thetraditionalnotionofleisureisthoroughlyinfectedbycontrast
withthecharacterofonerouslabor.
Itseemstome,accordingly,thattheidiomaticuseofthewordmindgivesa
muchmoretrulyscientific,andphilosophic,approachtotheactualfactsofthe
casethandoesthetechnicalone.Forinitsnontechnicaluse,minddenotes
everymodeandvarietyofinterestin,andconcernfor,things:practical,
intellectual,andemotional.Itneverdenotesanythingselfcontained,isolated
fromtheworldofpersonsandthings,butisalwaysusedwithrespectto
situations,events,objects,personsandgroups.Consideritsinclusiveness.It
signifiesmemory.Weareremindedofthisandthat.Mindalsosignifiesattention.
Wenotonlykeepthingsinmind,butwebringmindtobearonourproblemsand
perplexities.Mindalsosignifiespurposewehaveamindtodothisandthat.Nor
ismindintheseoperationssomethingpurelyintellectual.Themothermindsher
babyshecaresforitwithaffection.Mindiscareinthesenseofsolicitude,
anxiety,aswellasofactivelookingafterthingsthatneedtobetendedwemind
ourstep,ourcourseofaction,emotionallyaswellasthoughtfully.Fromgiving
heedtoactsandobjects,mindcomesalsotosignify,toobeyaschildrenare
toldtomindtheirparents.Inshorttominddenotesanactivitythatisintellectual,

to
note
somethingaffectional,ascaringandliking,andvolitional,practical,
actinginapurposiveway.
Mindisprimarilyaverb.ItdenotesallthewaysinwhichWedealconsciously
andexpresslywiththesituationsinwhichwefledourselves.Unfortunately,an
influentialmannerofthinkinghaschangedmodesofactionintoanunderlying
substancethatPerformstheactivitiesinquestion.Ithastreatedmindasan
independententity
which
attends,purposes,cares,notices,and~nbers.This
changeofwaysofrespondingtotheenvironment

264

ARTASEXPERIENCE

intoanentityfromwhichactionsproceedisunfortunate,becauseitremoves
mindIromnecessaryconnectionwiththeobjectsandevents,past,presentand
future,oftheenvironmentwithwhichresponsiveactivitiesareinherently
connected.Mindthatbearsonlyanaccidentalrelationtotheenvironment
occupiesasimilarrelationtothebody.Inmakingmindpurelyimmaterial
(isolatedfromtheorganofdoingandundergoing),thebodyceasestobeliving
andbecomesadeadlump.Thisconceptionofmindasanisolatedbeing
underliestheconceptionthatestheticexperienceismerelysomethinginmind,
andstrengthenstheconceptionwhichisolatestheestheticfromthosemodesof
experienceinwhichthebodyisactivelyengagedwiththethingsofnatureand
life.Ittakesartoutoftheprovinceofthelivecreature.
Intheidiomaticsenseofthewordsubstantial,asdistinctfromthe
metaphysicalsenseofasubstance,thereissomethingsubstantialaboutmind.
Wheneveranythingisundergoneinconsequenceofadoing,theselfismodified.
Themodificationextendsbeyondacquisitionofgreaterfacilityandskill.Attitudes
andinterestsarebuiltupwhichembodyinthemselvessomedepositofthe
meaningofthingsdoneandundergone.Thesefundedandretainedmeanings
becomeapartoftheself.Theyconstitutethecapitalwithwhichtheselfnotes,
caresfor,attends,andpurposes.Inthissubstantialsense,mindformsthe
backgrounduponwhicheverynewcontactwithsurroundingsisprojectedyet
backgroundistoopassiveaword,unlesswerememberthatitisactiveand
that,intheprojectionofthenewuponit,thereisassimilationandreconstruction
ofbothbackgroundandofwhatistakeninanddigested.

Thisactiveandeagerbackgroundliesinwaitandengageswhatevercomes
itswaysoastoabsorbitintoitsownbeing.Mindasbackgroundisformedoutof
modificationsoftheselfthathaveoccurredintheprocessofpriorinteractions
withenvironment.Itsanimunistowardfurtherinteractions.Sinceitisformedout
ofcommercewiththeworldandissettowardthatworldnothingcanbefurther
fromthetruththantheideawhichtreatsitassomethingselfcontainedand
selfenclosed.Whenitsactivityisturneduponitself,asinmeditationand
reflectivespeculation,itswithdrawalisonlyfromtheimmediatesceneofthe
world

THEHUMANCONTRIBUTION

265

duringthetimeinwhichitturnsoverandreviewsmaterialgatheredfromthat
world.
Differentkindsofmindsarenamedfromthedifferentintereststhatactuate
thegatheringandassemblageofmaterialfromtheencompassingworld:the
scientific,theexecutive,theartistic,thebusinessmind.Ineachthereisa
preferential,mannerofselection,retention,andorganization.Thenative
constitutionoftheartistismarkedbypeculiarsensitivenesstosomeaspectof
themultiformuniverseofnatureandmanandbyurgetotheremakingofit
throughexpressioninapreferredmedium.Theseinherentimpulsionsbecome
mindwhentheyfusewithaparticularbackgroundofexperience.Ofthis
background,traditionsformalargepart.Itisnotenoughtohavedirectcontacts
andobservations,indispensableastheseare.Eventheworkofanoriginal
temperamentmayberelativelythin,aswellastendingtothebizarre,whenitis
notinformedwithawideandvariedexperienceofthetraditionsoftheartin
whichtheartistoperates.Theorganizationofthebackgroundwithwhich
immediatescenesareapproachedcannototherwiseberenderedsolidandvalid.
Foreachgreattraditionisitselfanorganizedhabitofvisionandofmethodsof
orderingandconveyingmaterial.Asthishabitentersintonativetemperament
andconstitutionitbecomesanessentialingredientofthemindofanartist.
Peculiarsensitivenesstocertainaspectsofnatureistherebydevelopedintoa
power.
Schoolsofartaremoremarkedinsculpture,architecture,andpaintingthan
intheliteraryarts.Buttherehasbeennogreatliteraryartistwhodidnotfeed
upontheworksofthemastersofdrama,poetry,andeloquentprose.Inthis

dependenceflpontraditionthereisnothingpeculiartoart.Thescientificinquirer,
thephilosopher,thetechaologist,alsoderivetheirsubstancefromthestreamof
culture.Thisdependenceisanessealtialfactorinoriginalvisionandcreative
expression.Thetroublewiththeacademicimitatorisnotthathedependsupon
traditions,butthatthelatterhavenotenteredintohismindintotheStructureof
hisownwaysofseeingandmaking.Theyremainuponthesurfaceastricksof
techniqueorasextraneoussuggestionsandconventionsastotheproperthing
todo.
Mindismorethanconsciousness,becauseitistheabiding

266

ARTASEXPERIENCE

eventhoughchangingbackgroundofwhichconsciousnessistheforeground.
Mindchangesslowlythroughthejointtuitionofinterestandcircumstance.
Consciousnessisalwaysinrapidchange,foritmarkstheplacewherethe
formeddispositionandtheimmediatesituationtouchandinteract.Itisthe
continuousreadjustmentofselfandtheworldinexperience.Consciousnessis
themoreacuteandintenseinthedegreeofthereadjustmentsthatare
demanded,approachingthenilasthecontactisfrictionlessandinteractionfluid.
Itisturbidwhenmeaningsareundergoingreconstructioninanundetermined
direction,andbecomesclearasadecisivemeaningemerges.
Intuitionisthatmeetingoftheoldandnewinwhichthereadjustment
involvedineveryformofconsciousnessiseffectedsuddenlybymeansofaquick
andunexpectedharmonywhichinitsbrightabruptnessislikeaflashof
revelationalthoughinfactitispreparedforbylongandslowincubation.
Oftentimestheunionofoldandnew,offoregroundandbackground,is
accomplishedonlybyeffort,prolongedperhapstothepointofpain.Inanycase,
thebackgroundoforganizedmeaningscanaloneconvertthenewsituationfrom
theobscureintotheclearandluminous.Whenoldandnewjumptogether,like
sparkswhenthepolesareadjusted,thereisintuition.Thislatteristhusneither
anactofpureintellectinapprehendingrationaltruthnoraCroceangraspby
spiritofitsownimagesandstates.
Becauseinterestisthedynamicforceinselectionandassemblageof
materials,productsofmindaremarkedbyindividuality,justasproductsof
mechanismaremarkedbyuniformity.Noamountoftechnicalskilland
craftsmanshipcantaketheplaceofvitalinterestinspirationwithoutitisfleeting

andfutile.Atrivialandbadlyorderedmindaccomplishesthingslikeuntoitselfin
artaswellaselsewhere,foritlacksthepushandcentralizingenergyofinterest.
Worksofartaremeasuredbydisplayofvirtuositywhencriteriaarecarriedover
fromthefieldoftechnicalinvention.Judgmentofthemonthebasisofsheer
inspirationoverlooksthelongandsteadyworkdonebyaninterestalwaysat
workbelowthesurface.Theperceiver,asmuchasthecreator,needsarichand
developedbackgroundwhich,whetheritbepaintinginthefieldofpoetry,or
music,cannotbeachievedexceptbyconsistentnurtureofinterest.

THEHUMANCONTRIBUTION

267

INwhatprecedes,Ihavesaidnothingaboutimagination.Imagination
shareswithbeautythedoubtfulhonorofbeingthechiefthemeinesthetic
writingsofenthusiasticignorance.Moreperhapsthananyotherphaseofthe
humancontribution,ithasbeentreatedasaspecialandselfcontainedfaculty,
differingfromothersinpossessionofmysteriouspotencies.Yetifwejudgeits
naturefromthecreationofworksofart,itdesignatesaqualitythatanimatesand
pervadesallprocessesofmakingandobservation.Itisa
way
ofseeingand
feelingthingsastheycomposeanintegralwhole.Itisthelargeandgenerous
blendingofinterestsatthepointwherethemindcomesincontactwiththeworld.
Whenoldandfamiliarthingsaremadenewinexperience,thereisimagination.
Whenthenewiscreated,thefarandstrangebecomethemostnaturalinevitable
thingsintheworld.Thereisalwayssomemeasureofadventureinthemeetingof
mindanduniverse,andthisadventureis,initsmeasure,imagination.
Coleridgeusedthetermesemplastictocharacterizetheworkofimagination
inart.IfIunderstandhisuseoftheterm,hemeantbyittocallattentiontothe
weldingtogetherofallelements,nomatterhowdiverseinordinaryexperience,
intoanewandcompletelyunifiedexperience.Thepoet,hesaid,diffusesa
toneandspiritofunitythat(asitwere)fuseseachtoeachthefacultiesofthe
soulwiththesubordinationofeachaccordingtorelativedignityandworth,by
thatsyntheticandmagicalpowertowhichIwouldexclusivelyappropriatethe
nameofimagination.Coleridgeusedthevocabularyofhisphilosophic
generation.Hespeaksoffacultiesthatarefusedandofimaginationasifitwere
anotherpoweractingtodrawthemtogether.

Butonemaypassoverhisverbalmode,andfindinwhathesaysan
intimationnotthatimaginationisthepowerthatdoescertainthings,butthatan
imaginativeexperienceiswhathappenswhenvariedmaterialsofsensequality,
emotion,andmeaningcometogetherinaunionthatmarksanewbirthinthe
world.IdonotprofesstoanexactunderstandingofwhatColeridgemeantbyhis
distinctionbetweenimaginationandfancy.Buttherecanbenodoubtofthe
differencebetweenthekindof~eriencejustindicatedandthatinwhichaperson
deliberatelygin,sfamiliarexperienceastrangeguisebyclothingitinunusual
3Ub,asofasupernaturalapparition.Insuchcases,mindand

268

ARTASEXPERIENCE

materialdonotsquarelymeetandinterpenetrate.Mindstaysaloofforthe
mostpartandtoyswithmaterialratherthanboldlygraspingit.Thematerialistoo
slighttocallforththefullenergyofthedispositionsinwhichvaluesandmeanings
areembodieditdoesnotofferenoughresistance,andsomindplayswithit
capriciously.Atthebest,thefancifulisconfinedtoliteraturewhereinthe
imaginativetooeasilybecomestheimaginary.Onehasonlytothinkof
paintingtosaynothingofarchitecturetoseehowremoteitisfromessential
art.Possibilitiesareembodiedinworksofartthatarenotelsewhereactualized
this
embodiment
isthebestevidencethatcanbefoundofthetruenatureof
imagination.
Thereisaconflictartiststhemselvesundergothatisinstructiveastothe
natureofimaginativeexperience.Theconflicthasbeensetforthinmanyways.
Onewayofstatingitconcernstheoppositionbetweeninnerandoutervision.
Thereisastageinwhichtheinnervisionseemsmuchricherandfinerthanany
outermanifestation.Ithasavastandenticingauraofimplicationsthatare
lackingintheobjectofexternalvision.Itseemstograspmuchmorethanthe
latterconveys.Thentherecomesareactionthematteroftheinnervisionseems
wraithlikecomparedwiththesolidityandenergyofthepresentedscene.The
objectisfelttosaysomethingsuccinctlyandforciblythattheinnervisionreports
vaguely,indiffusefeelingratherthanorganically.Theartistisdriventosubmit
himselfinhumilitytothedisciplineoftheobjectivevision.Buttheinnervisionis
notcastout.Itremainsastheorganbywhichoutervisioniscontrolled,andit
takesonstructureasthelatterisabsorbedwithinit.Theinteractionofthetwo
modesofvisionisimaginationasimaginationtakesformtheworkofartisborn.

Itisthesamewiththephilosophicthinker.Therearemomentswhenhefeelsthat
hisideasandidealsarefinerthananythinginexistence.Buthefindshimself
obligedtogobacktoobjectsifhisspeculationsaretohavebody,weight,and
perspective.Yetinsurrenderinghimselftoobjectivematerialhedoesnot
surrenderhisvisiontheobjectjustasanobjectisnothisconcern.Itisplacedin
thecontextofideasand,asitisthusplaced,thelatteracquiresolidityand
partakeofthenatureoftheobject.

THEHUMANCONTRIBUTION

269

Trainsofwhatbycourtesyarecalledideasbecomemechanical.Theyare
easytofollow,tooeasy.Observationaswellasovertactionissubjecttoinertia
andmovesinthelineofleastresistance.Apublicisformedthatisinuredto
certainwaysofseeingandthinking.Itlikestoberemindedofwhatisfamiliar.
Unexpectedturnsthenarouseirritationinsteadofaddingpoignancyto
experience.Wordsareparticularlysubjecttothistendencytowardsautomatism.
Iftheiralmostmechanicalsequenceisnottooprosaic,awritergetsthe
reputationofbeingclearmerelybecausethemeaningsheexpressesareso
familiarasnottodemandthoughtbythereader.Theacademicandeclecticin
anyartistheoutcome.Thepeculiarqualityoftheimaginativeisbestunderstood
whenplacedinoppositiontothenarrowingeffectofhabituation.Timeisthetest
thatdiscriminatestheimaginativefromtheimaginary.Thelatterpassesbecause
itisarbitrary.Theimaginativeenduresbecause,whileatfirststrangewith
respecttous,itisenduringlyfamiliarwithrespecttothenatureofthings.
Thehistoryofscienceandphilosophyaswellasofthefineartsisarecordof
thefactthattheimaginativeproductreceivesatfirstthecondemnationofthe
public,andinproportiontoitsrangeanddepth.Itisnotmerelyinreligionthatthe
prophetisatfirststoned(metaphoricallyatleast)whilelatergenerationsbuildthe
commemorativemonument.Withrespecttopainting,Constablestated,with
almostunduemoderation,theuniversalfactwhenhesaid:Inarttherearetwo
modesbywhichmenaimatdistinction.Intheonebyacarefulapplicationto
whatothershaveaccomplished,theartistimitatestheirworksorselectsand
combinestheirvariousbeautiesintheother,heseeksexcellenceatitsprimitive
sourcenature.Inthefirst,heformsastyleuponthestudyofpictures,and

produceseitherimitativeoreclecticartinthesecond,byacloseobservationof
nature,hediscoversqualitiesexistinginherwhichhaveneverbeenportrayed
before,andthusformsastylewhichisoriginal.Theresultsoftheonemode,as
theyrepeatthatwithwhichtheeyein~~yfamiliar,aresoonrecognizedand
estimated,whiletheadvanceoftheartistinanewpathmustnecessarilybe
slow,forfewareabletojudgeofthatwhichdeviatesfromtheusualcourse,

270

ARTASEXPERIENCE

orarequalifiedtojudgeoriginalstudies.
*
Hereisthecontrastbetweenthe
inertiaofhabitandtheimaginativethatisthemindthatseeksandwelcomes
whatisnewinperceptionbutisenduringinnaturespossibilities.Revelationin
artisthequickenedexpansionofexperience.Philosophyissaidtobeginin
wonderandendinunderstanding.Artdepartsfromwhathasbeenunderstood
andendsinwonder.Inthisend,thehumancontributioninartisalsothe
quickenedworkofnatureinman.
Anypsychologythatisolatesthehumanbeingfromtheenvironmentalso
shutshimoff,saveforexternalcontacts,fromhisfellows.Butanindividuals
desirestakeshapeundertheinfluenceofthehumanenvironment.Thematerials
ofhisthoughtandbeliefcometohimfromotherswithwhomhelives.Hewould
bepoorerthanabeastofthefieldswereitnotfortraditionsthatbecomeapartof
hismind,andforinstitutionsthatpenetratebelowhisoutwardactionsintohis
purposesandsatisfactions.Expressionofexperienceispublicand
communicatingbecausetheexperiencesexpressedarewhattheyarebecause
ofexperiencesofthelivingandthedeadthathaveshapedthem.Itisnot
necessarythatcommunicationshouldbepartofthedeliberateintentofanartist,
althoughhecanneverescapethethoughtofapotentialaudience.Butits
functionandconsequencearetoeffectcommunication,andthisnotbyexternal
accidentbutfromthenatureheshareswithothers.
Expressionstrikesbelowthebarriersthatseparatehumanbeingsfromone
another.Sinceartisthemostuniversalformoflanguage,sinceitisconstituted,
evenapartfromliterature,bythecommonqualitiesofthepublicworld,itisthe
mostuniversalandfreestformofcommunication.Everyintenseexperienceof

friendshipandaffectioncompletesitselfartistically.Thesenseofcommunion
generatedbyaworkofartmaytakeonadefinitelyreligiousquality.Theunionof
menwithoneanotheristhesourceoftheritesthatfromthetimeofarchaicman
tothepresenthavecommemoratedthecrisesofbirth,death,and

*
ItmaybethatConstableishereusingthewordnatureinasomewhat
limitedsense,correspondingtohisinterestasalandscapepainter.Butthe
contrsstbetweenfirsthandexperienceandthesecondhandandimitative
remainswhennatureisbroadenedtoincludeallthephases,aspects,and
structuresofexistence.

THEHUMANCONTRIBUTION

271

marriage.Artistheextensionofthepowerofritesandcernmoniestounite
men,throughasharedcelebration,toallincidentsandscenesoflife.Thisoffice
istherewardandsealofart.Thatartwedsmanandnatureisafamiliarfact.Art
alsorendersmenawareoftheirunionwithoneanotherinoriginanddestiny.

CHAPTERXII

THECHALLENGETOPHILOSOPHY

E
STHETICexperienceisimaginative.Thisfact,inconnectionwithafalse
ideaofthenatureofimagination,hasobscuredthelargerfactthatall
conscious
experiencehasofnecessitysamedegreeofimaginativequality.Forwhilethe
rootsofeveryexperiencearefoundintheinteractionofalivecreaturewithits
environment,thatexperiencebecomesconscious,amatterofperception,only
whenmeaningsenteritthatarederivedfrompriorexperiences.Imaginationis
theonlygatewaythroughwhichthesemeaningscanfindtheirwayintoapresent
interactionorrather,aswehavejustseen,theconsciousadjustmentofthenew
andtheold
is
imagination.Interactionofalivingbeingwithanenvironmentis
foundinvegetativeandanimallife.Buttheexperienceenactedishumanand
consciousonlyasthatwhichisgivenhereandnowisextendedbymeaningsand
valuesdrawnfromwhatisabsentinfactandpresentonlyimaginatively.*
Thereisalwaysagapbetweenthehereandnowofdirectinteractionandthe
pastinteractionswhosefundedresultconstitutesthemeaningswithwhichwe
graspandunderstandwhatisnowoccurring.Becauseofthisgap,allconscious
perceptioninvolvesariskitisaventureintotheunknown,forasitassimilates
thepresenttothepastitalsobringsaboutsomereconstructionofthatpast.
Whenpastandpresentfitexactlyintooneanother,whenthereisonly
recurrence,completeuniformity,theresultingexperienceisroutineand
mechanicalitdoesnotcometoconsciousnessinperception.Theinertiaofhabit
overridesadaptationofthemeaningofthehereandnowwiththatof

experiences,withoutwhichthereisnoconsciousness,theisnaginativephaseof
experience.
*
Minddenotesawholesystemofmeaningsastheyareembodiedinthe
workingsoforganiclife...Mindisaconstantluminosityconsciousnessis
intermittent,aseriesofflashesofdifferentintensities.Experienceand
Nature,p.
303.
272

THECHALLENGETOPHILOSOPHY 273

Mind,thatisthebodyoforganizedmeaningsbymeansofwhicheventsofthe
presenthavesignificanceforus,doesnotalwaysenterintotheactivitiesand
undergoingsthataregoingonhereandnow.Sometimesitisbaffledand
arrested.Thenthestreamofmeaningsarousedintoactivitybythepresent
contactremainaloof.Thenitformsthematterofreverie,ofdreamideasare
floating,notanchoredtoanyexistenceasitsproperty,itspossessionof
meanings.Emotionsthatareequallylooseandfloatingclingtotheseideas.The
pleasuretheyaffordisthereasonwhytheyareentertainedandareallowedto
occupythescenetheyareattachedtoexistenceonlyinawaythat,aslongas
sanityabides,isfelttobeonlyfancifulandunreal.
Ineveryworkofart,however,thesemeaningsareactuallyembodiedina
materialwhichtherebybecomesthemediumfortheirexpression.Thisfact
constitutesthepeculiarityofallexperiencethatisdefinitelyesthetic.Its
imaginativequalitydominates,becausemeaningsandvaluesthatarewiderand
deeperthantheparticularhereandnowinwhichtheyareanchoredarerealized
bywayof
expressions
althoughnotbywayofanobjectthatisphysically
efficaciousinrelationtootherobjects.Notevenausefulobjectisproduced
exceptbytheinterventionofimagination.Someexistentmaterialwasperceived
inthelightofrelationsandpossibilitiesnothithertorealizedwhenthesteam
enginewasinvented.Butwhenthelinaginedpossibilitieswereembodiedina
newassemblageofnaturalmaterials,thesteamenginetookitsplaceinnature
asanobjectthathasthesamephysicaleffectsasthosebelongingtoanyother
physicalobject.Steamdidthephysicalworkandproducedtheconsequences
thatattendanyexpandinggasunderdefinitephysicalconditions.Thesale

differenceisthattheconditionsunderwhichitoperateshavebeenarrangedby
humancontrivance.
Theworkofart,however,unlikethemachine,isnotonlytheoutcomeof
imagination,butoperatesimaginativelyratherthanintherealmofphysical
existences.Whatitdoesistoconcentrateandenlargeanimmediateexperience.
Theformedmatterofestheticexperiencedirectly
expresses,
inotherwords,the
meannIPthatareimaginativelyevokeditdoesnot,likethematerialbroughtinto
newrelationsinamachine,merelyprovide
means
bywhichPurposesoverand
beyondtheexistenceoftheobject

274

ARTASEXPERIENCE

maybeexecuted.Andyetthemeaningsimaginativelysummoned,
assembled,andintegratedareembodiedinmaterialexistencethathereandnow
interactswiththeself.Theworkofartisthusachallengetotheperformanceofa
likeactofevocationandorganization,throughimagination,onthepartoftheone
whoexperiencesit.Itisnotjustastimulustoandmeansofanovertcourseof
action.
Thisfactconstitutestheuniquenessofestheticexperience,andthis
uniquenessisinturnachallengetothought.Itisparticularlyachallengetothat
systematicthoughtcalledphilosaphy.Forestheticexperienceisexperienceinits
integrity.Hadnotthetermpurebeensaoftenabusedinphilosaphicliterature,
haditnotbeensooftenemployedtosuggestthatthereissomethingalloyed,
impure,intheverynatureofexperienceandtodenotesomethingbeyond
experience,wemightsaythatestheticexperienceispureexperience.Foritis
experiencefreedfromtheforcesthatimpedeandconfuseitsdevelopmentas
experiencefreed,thatis,fromfactorsthatsubordinateanexperienceasitis
directlyhadtosamethingbeyonditself.Toestheticexperience,then,the
philosophermustgotounderstandwhatexperienceis.
Forthisreason,whilethetheoryofestheticsputforthbyaphilosopheris
incidentallyatestofthecapacityofitsauthortohavetheexperiencethatisthe
subjectmatterofhisanalysis,itisalsomuchmorethanthat.Itisatestofthe
capacityofthesystemheputsforthtograspthenatureofexperienceitself.
Thereisnotestthatsosurelyrevealstheonesidednessofaphilosophyasits
treatmentofartandestheticexperience.Imaginativevisionisthepowerthat
unifiesalltheconstituentsofthematterofaworkofart,makingawholeoutof

theminalltheirvariety.Yetalltheelementsofourbeingthataredisplayedin
specialemphasesandpartialrealizationsinotherexperiencesaremergedin
estheticexperience.Andtheyaresocompletelymergedintheimmediate
wholenessoftheexperiencethateachissubmerged:itdoesnotpresentitself
inconsciousnessasadistinctelement.
Yetphilosophiesofestheticshaveoftensetoutfromonefactorthatplaysa
partintheconstitutionofexperience,andhaveattemptedtointerpretorexplain
theestheticexperiencebyasingleelementintermsofsense,emotion,reason,
ofac

THECHALLENGETOPHILOSOPHY 275

tivityimaginationitselfisviewednotasthatwhichholdsallotherelementsin
solutionbutasaspecialfaculty.Thephilosophiesofestheticsaremanyand
diverse.Itisimpossibletogiveevenanlsum~oftheminachapter.Butcriticism
hasaclewthat,ifitisfollowed,furnishesasureguidethroughthelabyrinth.We
canaskwhatelement,intheformationofexperience,eachsystemhastakenas
centralandcharacteristic.Ifwestartfromthispoint,wefindthattheoriesfallof
themselvesintocertaintypes,andthattheparticularstrandofexperiencethatis
offeredreveals,whenitisplacedincontrastwithestheticexperienceitself,the
weaknessofthetheory.Foritisshownthatthesysteminquestionhas
superimposedsamepreconceivedideauponexperienceinsteadofencouraging
orevenallowingestheticexperiencetotellitsowntale.

SINCEexperienceisrenderedconsciousbymeansofthatfusionofold
meaningsandnewsituationsthattransfiguresboth(atransformationthatdefines
imagination),thetheorythatartisaformofmakebelievesuggestsitselfasthe
naturalonewithwhichtobegin.Thetheorygrowsoutof,anddependsupon,
contrastbetweentheworkofartasanexperienceandexperienceofthereal.
Nowthereisnodoubtthatbecauseofthedominationofestheticexperienceby
imaginativequality,itexistsinamediumoflightthatneverwasonlandorsea.
Eventhemostrealisticwork,ifitisoneofart,isnotanimitativereproductionof
thethingsthataresofamiliar,soregular,andsoimportunatethatwecallthem
real.Indeparturefromtheoriesofartthatdefineitasimitative,andthat

conceivethepleasurethatattendsitasoneofsheerrecognition,the
makebelievetheoryhaslaidholdofagenuinestrandoftheesthetic.
Moreover,Idonotthinkitcanbedeniedthatanelementofreverie,of
approachtoastateofdream,entersintothecreationofaworkofart,northat
theexperienceoftheworkwhenitisintenseoftenthrowsoneintoasimilarstate.
Indeed,itissafetosaythatcreativeconceptionsinphilosophyandscience
mineonlytopersonswhoarerelaxedtothepointofreverie.Thesubconscious
fundofmeaningsstoredinourattitudeshavenochanceofreleasewhenweare
practicallyorintellectually

276

ARTASEXPERIENCE

strained.Formuchthegreaterpartofthisstoreisthenrestrained,because
thedemandsofaparticularproblemandparticularpurposeinhibitallexceptthe
elementsdirectlyrelevant.Imagesandideascometousnotbysetpurposebut
inflashes,andflashesareintenseandilluminating,theysetusonfire,onlywhen
wearefreefromspecialpreoccupations.
Theerrorofthemakebelieveorillusiontheoryofartdoesnot,then,proceed
fromthefactthatestheticexperiencelackstheelementsuponwhichthetheory
builds.Itsfalsityproceedsfromthefactthatinisolatingoneconstituent,itdenies
explicitlyorimplicitlyotherelementsequallyessential.Nomatterhowimaginative
thematerial
for
aworkofart,itissuesfromthestateofreverietobecomethe
matter
of
aworkofartonlywhenitisorderedandorganized,andthiseffectis
producedonlywhen
purpose
controlsselectionanddevelopmentofmaterial.
Thecharacteristicofdreamandreverieisabsenceofcontrolbypurpose.
Imagesandideassucceedoneanotheraccordingtotheirownsweetwill,and
thesweetnessofthesuccessiontofeelingistheonlycontrolthatisexercised.In
philosophicalterminology,thematerialissubjective.Anestheticproductresults
onlywhenideasceasetofloatandareembodiedinanobject,andtheonewho
experiencestheworkofartloseshimselfinirrelevantreverieunlesshisimages
andemotionsarealsotiedtotheobject,andaretiedtoitinthesenseofbeing
fusedwiththematterofthe
object.
Itisnotenoughthattheyshouldbe
occasionedbytheobject:inordertobeanexperienceoftheobjecttheymustbe
saturatedwithitsqualities.Saturationmeansanimmersionsocompletethatthe
qualitiesoftheobjectandtheemotionsitarouseshavenoseparateexistence.
Worksofartoftenstartanexperiencegoingthatisenjoyableinitself,andthis

experienceissometimesworthhaving,notmerelyanindulgenceinirrelevant
sentimentality.Butsuchanexperienceisnotanenjoyedperceptionoftheobject
merelybecauseitisprovokedbyit.
Thesignificanceofpurposeasacontrollingfactorinbothproductionand
appreciationisoftenmissedbecausepurposeisidentifiedwithpiouswishand
whatissometimescalledamotive.Apurposeexistsonlyintermsofsubject
matter.TheexperiencethatgavebirthtoaworkliketheJoicdeVivreof
Matisseis

THECHALLENGETOPHILOSOPHY 277

highlyimaginativenosuchsceneeveroccurred.Itisanexampleas
favorabletothedreamliketheoryofartascanbefound.Buttheimaginative
materialdidnotandcouldnotremaindreamlike,nomatterwhatitsorigin.To
becomethematterofawork,ithadtobeconceivedintermsofcolorasa
mediumofexpressionthefloatingimageandfeelingofadancehadtobe
translatedintorhythmsofspace,line,anddistributionsoflightandcolors.The
object,
theexpressedmaterial,
is
notmerelytheaccomplishedpurpose,butitis
asobject
thepurposefromtheverybeginning.Evenifweweretosupposethat
theimagefirstpresenteditselfinanactualdream,itwouldstillbetruethatits
materialhadtobeorganizedintermsofobjectivematerialsandoperationsthat
movedconsistentlyandwithoutabreaktoconsummationinthepictureasa
publicobjectinacommonworld.
Atthesametime,purposeimplicatesinthemostorganicwayanindividual
self.Itisinthepurposesheentertainsandactsuponthatanindividualmost
completelyexhibitsandrealizeshisintimateselfbood.Controlofmaterialbya
selfiscontrolbymorethanjustminditiscontrolbythepersonalitythathas
mindincorporatewithinit.Allinterestisanidentificationofaselfwithsome
materialaspectoftheobjectiveworld,ofthenaturethatincludesman.Purpose
isthisidentificationinaction.Itsoperationinandthroughobjectiveconditionsisa
testofitsgenuineness~thecapacityofthepurposetoovercomeandutilize
resistance,toadministermaterials,isadisclosureofthestructureandqualityof
thepurpose.For,asIhavealreadysaid,theobjectfinallycreatedisthepurpose
bothasconsciousobjectiveandasaccomplishedactuality.Thethoroughgoing
integrationofwhatphilosophydiscriminatesassubjectandobject(inmore

directlanguage,organismandenvironment)isthecharacteristicofeveryworkof
art.Thecompletenessoftheintegrationisthemeasureofitsestheticstatus.For
defectinaworkisalwaystraceableultimatelytoanexcessononesideorthe
other,injuringtheintegrationofmatterandform.Detailedcriticismofthe
makebelievetheoryisunnecessarybecauseitisbaseduponviolationofthe
integrityoftheworkofart.ItexpresslydeniesorVirtuallyignoresthat
identificationwithobjectivematerialandCOnstructiveoperationthatisthevery
essenceofart.
Thetheorythatartisplayisakintothedreamtheory

278

ARTASEXPERIENCE

ofart.Butitgoesonestepnearertheactualityofestheticexperienceby
recognizingthenecessityofaction,ofdoingsomething.Childrenareoftensaid
tomakebelievewhentheyplay.Butchildrenatplayareatleastengagedin
actionsthatgivetheirimageryanoutwardmanifestationintheirplay,ideaand
actarecompletelyfused.Theelementsofstrengthandofweaknessinthe
theorymaybeviewedbynotinganorderofprogressionthatmarksformsofplay.
Akittenplays
with
aspoolorball.Theplayisnotwhollyrandombecauseitis
controlledbythestructuralorganizationoftheanimal,thoughnot,presumably,
byaconsciouspurpose,forthekittenrehearsesthekindofactionsthecat
employsincatchingitsprey.Buttheplayofthekitten,whileithasacertainorder
asanactivity,inconsonancewiththestructuralneedsoftheorganism,doesnot
modifytheobjectplayedwithexceptbyachangeofitsspatialposition,amoreor
lessaccidentalmatter.Thespool,theobject,isthestimulusandoccasion,the
excuseasitwere,foranenjoyablefreeexerciseofactivities,butitisnot,savein
anexternalway,theirmatter.
Thefirstmanifestationsofplaybyachilddonotdiffermuchfromthoseofa
kitten.Butasexperiencematures,activitiesaremoreandmoreregulatedbyan
endtobeattainedpurposebecomesathreadthatrunsthroughasuccessionof
actsitconvertsthemintoatrueseries,acourseofactivityhavingadefinite
inceptionandsteadymovementtowardagoal.Astheneedfororderis
recognized,playbecomesagameithasrules.Thereisalsoagradual
transition,suchthatplayinvolvesnotonlyanorderingof
activities
towardanend
butalsoanorderingofmaterials.Inplayingwithblocksthechildbuildsahouse
oratower.Hebecomesconsciousofthemeaningofhisimpulsionsandactsby

meansofthedifferencemadebytheminobjectivematerials.Pastexperiences
moreandmoregivemeaningtowhatisdone.Thetowerorfortthatistobe
constructednotonlyregulatestheselectionandarrangementofactsperformed
butisexpressiveofvaluesofexperience.Playasaneventisstillimmediate.But
itscontentconsistsofamediationofpresentmaterialsbyideasdrawnfrompast
experience.
Thistransitioneffectsatransformationofplayintowork,providedworkisnot
identifiedwithtoilorlabor.Foranyactivity

THECHALLENGETOPHILOSOPHY 279

becomesworkwhenitisdirectedbyaccomplishmentofadefinitematerial
result,anditislaboronlyastheactivitiesareonerous,undergoneas
mere
meansbywhichtosecurearesult.Theproductofartisticactivityissignificantly
calledthe
work
ofart.Thetruthintheplaytheoryofartisitsemphasisuponthe
unconstrainedcharacterofestheticexperience,notinitsintimationofan
objectivelyunregulatedqualityinactivity.Itsfalsityliesinitsfailuretorecognize
thatestheticexperienceinvolvesadefinitereconstructionofobjectivematerials
areconstructionthatmarkstheartsofdanceandsongaswellastheshaping
arts.Thedance,forexample,involvestheuseofthebodyanditsmovementsin
awaythattransformstheirnaturalstate.Theartistisconcernedwithexercise
ofactivitieshavingadefinitelyobjectivereferenceaneffectuponmaterialsoas
toconvertitintoamediumofexpression.Playremainsasanattitudeoffreedom
fromsubordinationtoanendimposedbyexternalnecessity,asopposed,thatis,
tolaborbutitistransformedintoworkinthatactivityissubordinatedto
production
ofanobjectiveresult.Noonehaseverwatchedachildintentinhis
playwithoutbeingmadeawareofthecompletemergingofplayfulnesswith
seriousness.
Thephilosophicalimplicationsoftheplaytheoryarefoundinitsoppositionof
freedomandnecessity,ofspontaneityandorder.Thisoppositiongoesbackto
thesamedualismbetweensubjectandobjectthatinfectsthemakebelieve
theory.Itsunderlyingnoteistheideathatestheticexperienceisareleaseand
escapefromthepressureofreality.Thereisanassumptionthatfreedomcan
befoundonlywhenpersonalactivityisliberatedfromcontrolbyobjectivefactors.
Theveryexistenceofaworkofartisevidencethatthereisnosuchopposition

betweentheSpontaneityoftheselfandobjectiveorderandlaw.Inart,the
Playful
attitudebecomesinterestinthetransformationofnIaterialtoservethe
purposeofadevelopingexperience.Desireandneedcanbefulfilledonly
throughobjectivematerial,andthereforeplayfu1n~isalsointerest
in
anobject.
OneformofthetheorythatartisplayattributesplaytOtheexistenceofa
surplusofenergyintheorganismdemandingoutlet.Buttheideapassesovera
questionthatneedstobeanswered.Howisexcessofenergymeasured?With
respectto

280

ARTASEXPERIENCE

whatisthereasurplus?Theplaytheoryassumesthatenergyisinexcess
withrespecttoactivitiesthatarenecessarybecauseofdemandsofthe
environmentthatmustbemetpractically.Butchildrenarenotconsciousofany
oppositionbetweenplayandnecessarywork.Theideaofthecontrastisa
productoftheadultlifeinwhichsomeactivitiesarerecreativeandamusing
becauseoftheircontrastwithworkthatisinfectedwithlaboriouscare.The
spontaneityofartisnotoneofoppositiontoanything,butmarkscomplete
absorptioninanorderlydevelopment.Thisabsorptionischaracteristicofesthetic
experiencebutitisanidealforallexperience,andtheidealisrealizedinthe
activityofthescientificinquirerandtheprofessionalmanwhenthedesiresand
urgenciesoftheselfarecompletelyengagedinwhatisobjectivelydone.
Thecontrastbetweenfreeandexternallyenforcedactivityisanempiricalfact.
Butitislargelyproducedbysocialconditionsanditissomethingtobeeliminated
asfaraspossible,notsomethingtobeerectedintoadifferentiabywhichto
defineart.Thereisaplaceforfarceanddiversioninexperiencealittle
nonsensenowandthenisrelishedbythebestofmen.Worksofartoutsideof
comedyareoftendiverting.Butthesefactsarenoreasonfor
defining
artinterms
ofdiversion.Thisconceptionhasitsrootsinthenotionthatthereissuchan
inherentanddeepseatedantagonismbetweentheindividualandtheworld(by
meansofwhichanindividuallivesanddevelops)thatfreedomcanbeattained
onlythroughescape.
Nowthereisenoughconflictbetweentheneedsanddesiresoftheselfand
theconditionsoftheworldtogivesomepointtotheescapetheory.Spensersaid
ofpoetrythatitistheworldssweetinnfrompainandwearisometurmoil.The

issuedoesnotconcernthistrait,trueofallthearts,buthastodowiththewayin
whichartperformsliberationandrelease.Thematteratstakeiswhetherrelease
comesbywayofanodyneorbytransfertoaradicallydifferentrealmofthings,or
whetheritisaccomplishedbymanifestingwhatactualexistenceactually
becomeswhenitspossibilitiesarefullyexpressed.Thefactthatartis
production
andthatproductionoccursonlythroughanobjectivematerialthathastobe
managedandorderedinaccordwithits
own
possibilitiesseemtobeconclusive
inthelattersense.Am

THECHALLENGETOPHILOSOPHY 281

Goethesaid:Artisformativelongbeforeitisbeautiful.Formanhaswithin
himaformativenaturethatdisplaysitselfinactionassoonasexistenceis........
Whenformativeactivityoperatesonwhatliesarounditfromsingle,individual,
independentfeeling,carelessandignorantofallthatisalientoit,then,whether
bornofrudesavageryorcultivatedsensibility,itiswholeandliving.Theactivity
thatisfreefromthestandpointoftheselfisorderedanddisciplinedfromtheside
ofobjectivematerialundergoingtransformation.
Asfarasthedelightfoundincontrastisconcerned,itisastruethatwegofor
satisfactionfromworksofarttonaturalthingsasitisthatweturnfromthelatter
toart.Attimesweturngladlyfromfinearttoindustry,science,politics,and
domesticlife.AsBrowningsaid:

AndthatsyourVenuswhenceweturn
Toyonder
girl
thatfordstheburn.

Soldiersgettoomuchoffightingphilosophersofphilosophizing,andthepoet
goesgladlytothemealheshareswithhisfellows.Imaginativeexperience
exemplifiesmorefullythananyotherkindofexperiencewhatexperienceitselfis
initsverymovementandstructure.Butwealsowantthetangofovertconflict
andtheimpactofharshconditions.Moreover,withoutthelatterarthasno
materialandthisfactismoreimportantforesthetictheorythanisanycontrast
supposedtoexistbetweenplayandwork,spontaneityandnecessity,freedom
andlaw.Forartisthefusioninoneexperienceofthepressureupontheselfof
necessaryconditionsandthespontaneityandnoveltyofindividuality.*

Individualityitselfisoriginallyapotentialityandisrealizedonlyininteraction
withsurroundingconditions.Inthis

mostexplicitphilosophicstatementofwhatisinspliedinthePlaythcoryis
thatofSchilierinhisLettersontheEstheticEducationofMaiLKanthadlimited
freedomtomoralactioncontrolledbytherational(aupraanpirical)conceptionof
Duty.SchilierputforwardtheideathatPlayandartoccupyanintermediate
transitionalplacebetweentherealmsofnecessaryphenomenaand
transcendentfreedom,educatingmantorecognitionandtoassumptionofthe
responsibilitiesofthelatter.HisviewsreprelentaValiantattemptonthepartof
anartisttoescapetherigiddualismoftheKantianphilosophy,whileremaining
wsthsnitsframe.

282

ARTASEXPERIENCE

processofintercourse,nativecapacities,whichcontainanelementof
uniqueness,aretransformedandbecomeaself.Moreover,throughresistances
encountered,thenatureoftheselfisdiscovered.Theselfisbothformedand
broughttoconsciousnessthroughinteractionwithenvironment.Theindividuality
oftheartistisnoexception.Ifhisactivitiesremainedmereplayandmerely
spontaneous,iffreeactivitieswerenotbroughtagainsttheresistanceofferedby
actualconditions,no
work
ofartwouldeverbeproduced.Fromthefirst
manifestationbyachildofanimpulsetodrawuptothecreationsofa
Rembrandt,theselfiscreatedinthecreationofobjects,acreationthatdemands
activeadaptationtoexternalmaterials,includingamodificationoftheselfsoas
toutilizeandtherebyovercomeexternalnecessitiesbyincorporatingtheminan
individualvisionandexpression.
Fromthephilosophicpointofview,Iseenowaytoresolvethecontinualstrife
inarttheoriesandincriticismbetweentheclassicandtheromanticsavetosee
thattheyrepresent
tendencies
thatmarkeveryauthenticworkofart.Whatis
calledclassicstandsforobjectiveorderandrelationsembodiedinaworkwhat
iscalledromanticstandsforthefreshnessandspontaneitythatcomefrom
individuality.Atdifferentperiodsandbydifferentartists,oneortheother
tendencyiscarriedtoanextreme.Ifthereisadefiniteoverbalanceononeside
ortheothertheworkfailstheclassicbecomesdead,monotonous,andartificial
theromantic,fantasticandeccentric.Butthegenuinelyromanticbecomesintime
establishedasarecognizedconstituentinexperience,sothatthereisforcein
thesayingthatafteralltheclassicmeansnothingmorethanthataworkofart
haswonanestablishedrecognition.

Desireforthestrangeandunusual,theremoteinspaceandtime,marks
romanticart.Yetescapefromthefamiliarenvironmenttoaforeignoneisoftena
meansofenlargingsubsequentexperience,becausetheexcursionsofartcreate
newsensitivitiesthatintimeabsorbwhatwasalienandnaturalizeitwithindirect
experience.Delacroixasapainterwhowasundulyromanticwasatleasta
precursoroftheartistsoftwogenerationslaterwhomadeArabianscenesapart
ofthecommonmaterialofpainting,andwho,becausetheirformisadaptedto
subjectmatter,morejustlythanwasthatofDelacroix,donotarouse

THECHALLENGETOPHILOSOPHY 283

asenseofanythingsoremoteastoseemoutsidethenaturalscopeof
experience.SirWalterScottisclassedasaromanticistinliterature.Vetevenin
hisownday,WilliamHazlitt,whosavagelydenouncedScottsreactionary
politicalopinions,saidofhisnovelsthatbygoingacenturyorsobackand
layingthesceneinaremoteanduncultivateddistrict,allbecomesnewand
startlinginthe
presentadvancedperiod.
Theitalicizedwordswithanother
phrase,allisfreshasfromthehandofnature,indicatethepossibilityof
incorporationoftheromanticallystrangeintothemeaningofthepresent
environment.Indeed,sinceallestheticexperienceisimaginative,thepitchof
intensitytowhichtheimaginativemayberaisedwithoutbecoming
outre
and
fantasticisdeterminedonlybythedoing,notbythe~
priori
rulesof
pseudoclassicism.CharlesLambhad,asHazlittsaid,distastetonewfaces,to
newbooks,tonewbuildings,tonewcustomsandwastenaciousoftheobscure
andremote.Lambhimselfsaid:
Icannotmakethesepresenttimesrealtome.YetPaterinquotingthese
wordssaidthatLambfeltthepoetryofthingsoldindeedbut,survivingasan
actualpartofthelifeofthepresentandassomethingquitedifferentfromthe
poetryofthingsgonefromusandantique.

THEtwotheoriescriticized(aswellasthatofselfexpressioncriticizedinthe
chapteronTheActofExpression)arediscussedbecausetheytypify
philosophiesthatisolatetheindividual,thesubjectoneofthemselecting
materialthatisprivate,likethatofadream,theotheractivitiesthatare

exclusivelyindividual.Thesetheoriesarecomparativelymodernthey
correspondtotheOveremphasisoftheindividualandthesubjectiveinmodern
philosophy.Thetheoryofartthathashadbyfarthelongesthistoricalvogueand
thatisstillsoentrenchedthatmanycriticsregardindividual~inartasanheretical
innovation,wenttOtheOPpositeextreme.Itregardedtheindividualasamere
channel,themoretransparentthebetter,throughwhichobjectivematerialis
conveyed.Thisoldertheoryconceivedofartasrepresentation,asimitation.
AdherentsofthistheoryappealtoAristotleasthegreatauthority.Yet,asevery
studentofthatphilosopherbows,Aristotlemeantsomethingradicallydifferent
fromimita

284

ARTASEXPERIENCE

tionofparticularincidentsandscenesfromrealisticrepresentationinits
presentsense.
FortoAristotletheuniversalwasmorereal,metaphysically,thanthe
particular.Thegistofhistheoryisatleastsuggestedbythereasonhegivesfor
regardingpoetryasmore
philosophical
thanhistory.Itisnotthebusinessofthe
poettotellwhathashappenedbutthekindofthingthatmighthappenwhatis
possiblewhethernecessaryorprobable....Forpoetrytellsus,rather,the
universals,historytheparticulars.
Sincenoonecandenythatartdealswiththepossible,Aristotles
interpretationofitasdealingwiththenecessaryortheprobableneedstobe
statedintermsofhissystem.Foraccordingtohim,thingsarenecessaryor
probablein
kinds
or
species
notsimplyasparticulars.Bytheirownnaturesome
kindsarenecessaryandeternal,whileotherkindsareonlyprobable.Theformer
kindsarealwaysso,thelatterkindsaresousually,asarule,generally.Both
kindsareuniversals,sincetheyaremadewhattheyarebyaninherent
metaphysicalessence.ThusAristotlecompletesthepassagejustquotedby
sayingtheuniversalisthe
kind
ofthingwhichapersonofcertaincharacter
wouldnecessarilyorprobablydoorsay.Andthisiswhatpoetryaimsat,though
itgivespropernamestothepersons.Theparticular,forexample,iswhat
Alcibiadesdidorunderwent.
Nowthetermheretranslatedcharacterislikelytogivethemodemreadera
totallywrongimpression.Hewouldagreethatthedeedsandsayingsattributed
toacharacterinfiction,drama,orpoetryshouldbesuchasflownecessarilyor
withgreatprobabilityfromthatindividualscharacter.Buthethinksofcharacter

asintimatelyindividual,whilecharacterinthepassagesignifiesauniversal
natureoressence.ToAristotletheestheticsignificanceoftheportrayalof
Macbeth,Pendennis,orFelixHoltconsistsinfidelitytothenaturefoundina
classorspecies.Tothemodernrender,itsignifiesfidelitytotheindividualwhose
careerisexhibitedthethingsdone,underwent,andsaidbelongtohiminhis
uniqueindividuality.Thedifferenceisradical.
TheinfluenceofAristotleuponsubsequentideasofartmaybegatheredbya
briefquotationfromthelecturesofSirJoshuaReynolds.Hesaidofpaintingthat
itsofficeisexhibition

THECHALLENGETOPHILOSOPHY 285

ofthegeneralformsofthings,forineach
class
ofobjectsthereisone
commonideaandcentralform,whichistheabstractofthevariousindividual
formsbelongingtotheclass.Thisgeneralform,antecedentlyexistentinnature,
whichindeed
is
naturewhennatureistruetoitself,isreproducedorimitatedin
trt.Theideaofbeautyineachspeciesofthingsisinvariable.
Theweakness,inarelativesense,ofthepaintingsofSirJoshuaReynoldsis
doubtlesstobeattributedtodefectsinhisownartisticcapacityratherthanto
acceptanceofthetheoryheexpounds.Manyapersoninbothplasticandliterary
artsheldthesametheoryandrosesuperiortoit.Anduptoacertainpoint,the
theoryisajustreflectionoftheactualstateofworksofartforalongperiod,
becauseoftheirsearchforthetypicalandtheiravoidanceofanythingthatmight
beconsideredaccidentalandcontingent.Itsprevalenceintheeighteenthcentury
reflectsnotonlycanonsfollowedintheartofthatcentury(outsideofpaintingin
Francethroughtheearlierpartofthecentury),butalsothegeneral
condemnationofthebaroqueandtheGothic.*
Butthequestionraisedisageneralone.Itcannotbedisposedofmerelyby
pointingoutthatmodernart,inallitsmodes,hastendedtosearchforand
expressthedistinctivelyindividualtraitsofobjectsandscenes,anymorethanit
canbesettledbyan
ipsedixit
thattheseexhibitionsofthemodernSpiritare
willfuldeparturesfromtrueart,tobeexplainedbydesireformerenoveltyand
attendantnotoriety.For,aswehavealreadyseen,themoreaworkofart
embodieswhatbelongstoexperiencescommontomanyindividuals,themore
expressiveitis.Indeed,failuretotakeaccountofthecontrolexercisedby
objectivesubject~mat~~~isthejustgroundforthecriticismdirectedagainstthe

subjectivisttheorieslatelyunderdiscussion.TheproblemforPhilosophic
reflectionconcerns,then,notthepresenceorabsenceofsuchobjectivematerial
butitsnatureandthewayinwhichitOperatesinthedevelopingmovementofan
estheticexperience.
Thequestionofthenatureoftheobjectivematerialthat

*
ItisnotwithoutinteresttonotethatthegoodBishopBerkeley,whenhe
wishestocondemnanythinginthewayofopinionandaction,sa
55
US
art,asextravagsntandfantasticspeaksofitasGothic.

286

ARTASEXPERIENCE

entersaworkofartandthewayinwhichitoperatescannotbeseparated.In
atruesense,thewayinwhichmaterialofotherexperiencesentersintoesthetic
experience
is
itsnatureforart.Butitmaybepointedoutthatthetermsgeneral
andcommonareequivocal.ThemeaningtheypossessforAristotleandforSir
Joshuaarenot,forexample,themeaningthatmostnaturallycomestomindwith
acontemporaryreader.Fortheformer,theyrefertoaspeciesorkindofobjects,
and,moreover,akindalreadyinexistencebytheveryconstitutionofnature.For
areaderinnocentoftheunderlyingmetaphysics,theyhaveasimpler,more
directandmoreexperimentalsignificance.Thecommon~~isthatwhichisfound
intheexperienceofanumberofpersonsanythinginwhichanumberofpersons
participateisbythatveryfactcommon.Themoredeepseateditisinthedoings
andundergoingthatformexperience,themoregeneralorcommonitis.Welive
inthesameworldthataspectofnatureiscommontoall.Thereareimpulsions
andneedsthatarecommontohumanity.Theuniversalisnotsomething
metaphysicallyanteriortoallexperiencebutisa
wayinwhichthingsfunction
in
experienceasabondofunionamongparticulareventsandscenes.
Potentially
anythingwhatsoeverinnatureorinhumanassociationsiscommonwhetheror
notitisactuallycommondependsupondiverseconditions,especiallythosethat
affecttheprocessesofcommunication.
Foritisbyactivitiesthataresharedandbylanguageandothermeansof
intercoursethatqualitiesandvaluesbecomecommontotheexperienceofa
groupofmankind.Nowartisthemosteffectivemodeofcommunicationthat
exists.Forthisreasonthepresenceofcommonorgeneralfactorsinconscious
experienceisan
effect
ofart.Anythingintheworld,nomatterhowindividualin

itsownexistenceispotentiallycommon,asIhavesaid,becauseitissomething
thatmay,justbecauseitispartoftheenvironment,interactwithanylivingbeing.
Butitbecomesaconsciouscommonpossession,orisshared,bymeansof
worksofartmorethanbyanyothermeans.Theideathatthegeneralis
constitutedbytheexistenceoffixedkindsofthings,has,moreover,been
destroyedbytheadvanceofscience,physicalandbiological.Theideawasa
productoftheculturalconditions,withrespectbothtothestateofknowledgeand
socialorganization.

THECHALLENGETOPHILOSOPHY 287

thatsubordinatedtheindividualinpoliticsaswellasinartandphilosophy.
Thequestionofthewaypotentialcommonmaterialentersintoarthasbeen
dealtwithinconnectionwithothermatters,especiallythatofthenatureofthe
expressiveobjectandthemedium.Amediumasdistinctfromrawmaterialis
alwaysamodeoflanguageandthusofexpressionandcommunication.
Pigments,marbleandbronze,sounds,arenotmediaofthemselves.Theyenter
intotheformationofamediumonlywhentheyinteractwiththemindandskillof
anindividual.Sometimesinapaintingweareconsciousofthepaintthephysical
meansobtrudetheyarenotsoabsorbedintounionwithwhattheartist
contributesastocarryustransparentlyovertothetextureoftheobject,drapery,
humanflesh,theskyorwhateveritmaybe.Evengreatpaintersdonotalways
achieveacompleteunion,C6zannebeinganotableexample.Ontheotherhand,
therearelesserartistsinwhoseworkwearenotmadeawareofthematerial
meansused.Butsinceonlyscantmaterialissuppliedbythehumanmeanings
thatinteract,theworkisslightinexpressiveness.
Suchfactsasthesegiveconvincingevidencethatthemediumofexpression
inartisneitherobjectivenorsubjective.Itisthematterofanewexperiencein
whichsubjectiveandobjectivehavesocooperatedthatneitherhasanylonger
anexistencebyitself.Thefataldefectoftherepresentativetheoryisthatit
exclusivelyidentifiesthematterofaworkofartwithwhatisobjective.Itpasses
bythefactthatobjectivematerialbecomesthematterofartonlyasitis
transformedbyenteringintorel8.tionsofdoingandbeingundergonebyan
individualpersonwithallhischaracteristicsoftemperament,specialmannerof
vision,anduniqueexperience.Evendidthereexist(astheredoesDot)special

fixedkindsofbeingstowhichallparticularsareSubordinate,itwouldstillbetrue
thattheywouldnotbethematterofart.Theywouldbeatbestmaterial
for,
and
wouldbecomematter
oj
aworkofartonlyaftertheyhadbeentransfiguredby
fusionwithmaterialthathasundergoneincorporationwithanindividualliving
creature.SincethephysicalWenalusedinproductionofaworkofartisnotof
itselfaniedlumn,norulescanbelaida
priori
downforitsproperuse.

288

ARTASEXPERIENCE

Thelimitsofitsestheticpotentialitiescanbedeterminedonlyexperimentally
andbywhatartistsmakeoutofitinpracticeanotherevidencethatthe
medium
ofexpressionisneithersubjectivenorobjective,butisanexperienceinwhich
theyareintegratedina
new
object.
Thephilosophicbasisoftherepresentativetheoryiscompelledtoomitthis
qualitativenoveltythatcharacterizeseverygenuineworkofart.
Thisneglectisalogicalconsequenceofvirtualdenialoftheinherentrbleof
individualityinthematterofaworkofart.Thetheoryofrealitythatdefinesthe
realintermsoffixedkindsisboundtoregardallelementsofnoveltyas
accidentalandestheticallyirrelevant,eventhoughtheyarepractically
unavoidable.Moreover,philosophiesthathavebeenmarkedbybiasinfavorof
universalnaturesandcharactershavealwaysregardedonlytheeternaland
unchangingastrulyreal.Yetnogenuineworkhaseverbeenarepetitionof
anythingthatpreviouslyexisted.Thereareindeedworksthattendtobemere
recombinationsofelementsselectedfrompriorworks.Buttheyare
academicthatistosay,mechanicalratherthanesthetic.Notonlycriticsbut
historiansofarthavebeenmisledbythefactitiousprestigeoftheconceptofthe
fixedandunchanging.Theyhavetendedtofindtheexplanationofworksofartof
eachperiodasmererecombinationsofthosepredecessors,recognizingnovelty
onlywhenanewstyleappeared,andeventhenacknowledgingitonlyina
grudgingway.Theinterpenetrationoftheoldandnew,theircompleteblendingin
aworkofart,isanotherchallengeissuedbyarttophilosophicthought.Itgivesa
clewtothenatureofthingsthatphilosophicsystemshaverarelyfollowed.


THEsenseofincreaseofunderstanding,ofadeepenedintelligibilityonthe
partofobjectsofnatureandman,resultingfromestheticexperience,hasled
philosophictheoriststotreatartasamodeofknowledge,andhasinduced
artists,especiallypoets,toregardartasamodeofrevelationoftheinnernature
ofthingsthatcannotbehadinanyotherway.Ithasledtotreatingart
as
amode
ofknowledgesuperiornotonlytothatofordinary

THECHALLENGETOPHILOSOPHY 289

lifebuttothatofscienceitself.Thenotionthatartisaformofknowledge
(thoughnotonesuperiortothescientificmode)isimplicitinAristotlesstatement
thatpoetryismorephilosophicalthanhistory.Theassertionhasbeenexpressly
madebymanyphilosophers.Areadingofthesephilosophersinconnectionwith
oneanothersuggests,however,thattheyeitherhavenothadanesthetic
experienceorhaveallowedpreconceptionstodeterminetheirinterpretationofit.
Fortheallegedknowledgecanhardlybeatthesametimethatoffixedspecies,
aswithAristotleofPlatonicIdeas,aswithSchopenhaueroftherational
structureoftheuniverse,aswithHegelandofstatesofmind,aswithCroceof
sensationswithassociatedimages,aswiththesensationalschooltomentiona
fewoftheoutstandingphilosophicinstances.Thevarietiesofincompatible
conceptionsputforthprovethatthephilosophersinquestionwereanxiousto
carryadialecticaldevelopmentofconceptionsframedwithoutregardtoartinto
estheticexperiencemorethantheywerewillingtoallowthisexperiencetospeak
foritself.
Nevertheless,thesenseofdisclosureandofheightenedintelligibilityofthe
worldremainstobeaccountedfor.Thatknowledgeentersdeeplyandintimately
intotheproductionofaworkisprovedbytheworksthemselves.Theoretically,it
followsofnecessityfromthepartplayedbymind,bythemeaningsfundedfrom
priorexperiencesthatareactivelyincorporatedinestheticproductionand
perception.Thereareartistswhohavebeendefinitelyinfluencedintheirworkby
thescienceoftheirtimeasLucretius,Dante,Milton,Shelley,and,althoughnot
toadvantageoftheirpaintings,LeonardoandDurerinthelargercompositionsof
thelatter.Butthereisagreatdifferencebetweenthetransformationof

knowledgethatiseffectedinimaginativeSademotionalvision,andinexpression
throughunionwithsensematerialandknowledge.Wordsworthdeclaredthat
poetryIsthebreathandfinerspiritofallknowledgeitistheimpasalomed
expressionwhichisinthecountenanceofallscience.Shelleysaid:Poetry...is
atoncethecenterandcircumferenceofallknowledgeitisthatwhich
comprehendsallscienceandtoWhichallsciencemustbereferred.
Butthesemenwerepoetsandarespeakingimaginatively.Breathandfiner
spiritofknowledgearefarfrombeingknowl

290

ARTASEXPERIENCE

edgeinanyliteralsense,andWordsworthgoesontosaythatpoetrycarries
sensationintotheobjectsofscience.AndShelleyalsosays,poetryawakens
andenlargesthemindbyrenderingitthereceptacleofathousand
unapprehendedcombinationsofthought.Icannotfindinsuchremarksasthese
anyintentiontoassertthatestheticexperienceistobe
deflncd
asamodeof
knowledge.Whatisintimatedtomymind,is,thatinbothproductionandenjoyed
perceptionofworksofart,knowledgeistransformeditbecomessomething
morethanknowledgebecauseitismergedwithnonintellectualelementstoform
anexperienceworthwhileasanexperience.Ihavefromtimetotimesetfortha
conceptionofknowledgeasbeinginstrumental.Strangemeaningshavebeen
imputedbycriticstothisconception.Itsactualcontentissimple:Knowledgeis
instrumentaltotheenrichmentofimmediateexperiencethroughthecontrolover
actionthatitexercises.IwouldnotemulatethephilosophersIhavecriticizedand
forcethisinterpretationintotheideassetforthbyWordsworthandShelley.But
anideasimilartothatIhavejuststatedseemstometobethemostnatural
translationoftheirintent.
Tangledscenesoflifearemademoreintelligibleinestheticexperience:not,
however,asreflectionandsciencerenderthingsmoreintelligiblebyreductionto
conceptualform,butbypresentingtheirmeaningsasthematterofaclarified,
coherent,andintensifiedorimpassionedexperience.ThetroubleIfindwiththe
representativeandcognitivetheoriesoftheestheticisthatthey,liketheplayand
illusiontheories,isolateonestrandinthetotalexperience,astrand,moreover,
thatiswhatitisbecauseoftheentirepatterntowhichitcontributesandinwhich
itisabsorbed.Theytakeittobethewhole.Suchtheorieseithermarkanarrest

ofestheticexperienceonthepartofthosewhoholdthem,anarrestekedoutby
inducedcerebralreveries,ortheyareevidenceofforgetfulnessofthenatureof
theactualexperienceinfavorofenforcementofsomepriorphilosophical
conceptiontowhichtheirauthorshavebeencommitted.

THEREisathirdgeneraltypeoftheoriesthatcombinestheescapephaseof
thefirsttypeoftheoriesconsideredwiththe

THECHALLENGETOPHILOSOPHY 291

overintellectualizedconceptionofartcharacteristicofthesecondtype.The
historicoriginofthisthirdtype,inwesternthought,goesbacktoPlato.Hesets
outfromtheimitationconception,buttohimthereisanelementofshamand
deceitineveryimitation,andthetruefunctionofthebeautyineveryobject,
naturalorartistic,istoleadusfromsenseandphenomenatosomethingbeyond.
Platosays,inoneofhismoregenialreferences,...therhythmicandharmonious
elementsofart,likeabreezeblowinginagoodlyplace,mayfromearliest
childhoodleaduspeacefullyintoharmonywiththebeautyofreasonableness
onesonurturedwill,beyondothers,welcomereasonwhenitstimecomesand
knowitashisown.Uponthisview,theobjectofartistoeducateusawayfrom
arttoperceptionofpurelyrationalessences.Thereisaladderofsuccessive
rungsleadingfromsenseupwards.Theloweststageconsistsinthebeautyof
sensibleobjectsastagethatismorallydangerousbecausewearetemptedto
remainthere.Fromthenceweareinvitedtomounttothebeautyofmind,thence
tothebeautyoflawsandinstitutions,whenceweshouldascendtothebeautyof
thesciencesandthenwemaymoveontotheoneintuitiveknowledgeofbeauty
absolute.Platosladderis,moreover,aonewayascentthereisnoreturnfrom
thehighestbeautytoperceptualexperience.
Thebeautyofthingsthatareinchangeasareallthingsofexperienceisto
beregardedthenbutasapotentialbecomingofthesoultowardapprehensionof
eternalpatternsofbeauty.Eventheirintuitionisnotfinal.Recallhowinthat
communionalone,throughbeholdingbeautywiththeeyeofmind,onewillbe
abletobringforthnotmereimagesofbeautybutrealityitself.Intherebybringing
forthandnurturingtrueexcellence,onewillbeabletobecomethefriendofGod

andasdivineasanymortalmaybe.FollowingPlatoinatimethatiswell
designatedbyGilbertMurrayafailureofnerve,Plotinuscarriedfurtherthe
logicalimplicationsofthelastclause.Proportion,symmetry,andharmonious
adaptationofpartsnomoreconstitutethebeautyofnaturalandartisticobjects
thandoestheirsensuouscharm.Thebeautyofthesethingsisconferredupon
thembytheeteriwIessenceorcharacterthatshinesthroughthem.TheCreator
ofallthingsisthesupremeartistbywhichisconferreduponthecreaturesthat
whichcausesthemtobebeautiful.Plotinus

292

ARTASEXPERIENCE

thoughtitunworthyofabsolutebeingtoconceiveitaspersonal.Christianity
didnotsharethisscruple,and,initsversionofNeoPlatonism,beautyofnature
andartwereconceivedtobemanifestationswithinthelimitsoftheperceptible
worldoftheSpiritwhoisabovenatureandbeyondperception.
AnechoofthisphilosophyisfoundinCarlyle,whenhesaysthat,inart,the
infiniteismadetoblendwiththefinitetostandvisibleandasitwereattainable
there.Ofthissortarealltrueworksofartinthis(ifweknowthetrueworkfrom
thedaubofartifice),wediscerneternitylookingthroughtime,theGodlike
renderedvisible.ItisquitedefinitelystatedbyBosanquet,amodernidealistof
theGermantradition,whenheassertsthatthespiritofartisfaithinthelifeand
divinitywithwhichtheexternalworldisinstinctandinspired,
sothatthe
idealizationscharacteristicofartarenotsomuchproductsofanimagination
thatdepartsfromrealityastheyarerevelationsofthelifeanddivinitythatis
aloneultimatelyrea
l.
Contemporarymetaphysicianswhohaveabandonedthetheologicaltradition
haveseenthatlogicallyessencescanstandaloneanddonotneedthesupport
thatwassupposedtobegiventhembyresidenceinanymindorspirit.A
contemporaryphilosopher,Santayana,writes:
Thenatureofessenceappearsin
nothingbetterthaninthebeautiful,whenthisisapositivepresencetothespirit,
andnotavaguetitleconventionallybestowed.Inaformfelttobebeautifulan
obviouscomplexitycomposesanobviousunityamarkedintensityand
individualityareseentobelongtoarealityutterlyimmaterialandincapableof
existingotherwisethanspeciously.
Thisdivinebeautyisevident,fugitive,
impalpable,andhomelessinaworldofmaterialfactyetitisunmistakably

individualandsufficientuntoitself,andalthoughperhapssooneclipsedisnever
reallyextinguishedforitvisitstime,butbelongstoeternity.Andagain:The
mostmaterialthinginasfarasitisfelttobebeautiful,isinstantlyimmaterialized,
raisedaboveexternalpersonalrelations,concentratedanddeepenedinits
properbeing,inawordsublimatedintoanessence.
Theimplicationsoftheview
arecontainedintheessencethatsays,Valueliesinmeaning,notinsubstance
intheidealwhichthingsapproach,
notintheenergywhichtheyembody.
(Italics
notintheoriginal.)

THECHALLENGETOPHILOSOPHY 293

Ithinkthereisanempiricalfactinvolvedineventhisconceptionofesthetic
experience.Ihavehadoccasiontospeakmorethanonceofaqualityofan
intenseestheticexperiencethatissoimmediateastobeineffableandmystical.
Anintellectualizedrenderingofthisimmediatequalityofexperiencetranslatesit
intothetermsofadreammetaphysics.Inanyevent,whenthisconceptionof
ultimateessenceiscomparedwithconcreteestheticexperienceitisseento
sufferfromtwofataldefects.Alldirectexperienceisqualitative,andqualitiesare
whatmakelifeexperienceitselfdirectlyprecious.Yet
reflection
goesbehind
immediatequalities,foritisinterestedinrelationsandneglectsqualitative
setting.Philosophicreflectionhascarriedthisindifferencetoqualitiestothepoint
ofaversion.Ithastreatedthemasobscurationsoftruth,asveilscastoverreality
bysense.Thedesiretoderogatefromimmediatesensequalitiesandall
qualitiesaremediatedthroughsomemodeofsenseisreenforcedbyfearof
sense,moralisticinorigin.Senseseems,astoPlato,tobeaseductionthatleads
manawayfromthespiritual.Itistoleratedonlyasavehiclethroughwhichman
maybebroughttoanintuitionofimmaterialandnonsensuousessence.Inview
ofthefactthattheworkofartistheimpregnationofsensuousmaterialwith
imaginativevalues,Iknowofnowaytocriticisethetheorysavetosaythatitisa
ghostlymetaphysicsirrelevanttoactualestheticexperience.
Thetermessenceishighlyequivocal.IncommonSPeechitdenotesthe
gist
ofathingweboildownaseriesofconversationsorofcomplicatedtransactions
andtheresultisWhatisessential.Weeliminateirrelevanciesandretainwhatis
indisPensable.Allgenuineexpressionmoves,inthissense,towardessence.
Essenceheredenotesanorganizationofmeaningsthathavebeendispersedin

andmoreorlessobscuredbyincidentsattendingavarietyofexperiences.What
isessentialorindisPensableisalsosoinreferencetoapurpose.Forwhyare
certainConsiderationsindispemileratherthanothers?ThegistofaVarietyof
transactionsisnotthesameforalawyer,ascientificInquirerandapoet.Awork
ofartmaycertainlyconveytheasenceofamultitudeofexperiences,and
sometimesinare~rsariaDiycondensedandstrikingway.Selectionand
simplificationOCourforthesakeofexpressingtheessential.Courbetoftencon

294

ARTASEXPERIENCE

veystheessenceofaliquiditythatsaturatesalandscapeClaude,thatofthe
geniusloci
andofanarcadiansceneConstable,theessenceofsimplerural
scenesofEnglandUtrillo,thatofthebuildingsinaParisstreet.Dramatistsand
novelistsconstructcharactersthatextricatetheessentialfromtheincidental.
Sinceaworkofartisthesubjectmatterofexperiencesheightenedand
intensified,thepurposethatdetermineswhatisestheticallyessentialisprecisely
theformationofanexperience
as
anexperience.Insteadoffleeingfrom
experiencetoametaphysicalrealm,thematerialofexperiencesissorendered
thatitbecomesthepregnantmatterofanewexperience.Moreover,thesense
wenowhaveforessentialcharacteristicsofpersonsandobjectsisverylargely
the
result
ofart,whilethetheorythatisunderdiscussionholdsthatartdepends
uponandreferstoessencesalreadyinbeing,thusreversingtheactualprocess.
Ifwearenowawareofessentialmeanings,itismainlybecauseartistsinallthe
variousartshaveextractedandexpressedtheminvividandsalient
subjectmatterofperception.TheformsorIdeaswhichPlatothoughtwere
modelsandpatternsofexistingthingsactuallyhadtheirsourceinGreekart,so
thathistreatmentofartistsisasupremeinstanceofintellectualingratitude.
Thetermintuitionisoneofthemostambiguousinthewholerangeof
thought.Inthetheoriesjustconsidered,itissupposedtohaveessenceasits
properobject.Crocehascombinedtheideaofintuitionwiththatofexpression.
Theiridentificationwitheachotherandofbothwitharthasgivenreadersagood
dealoftrouble.Itcanbeunderstood,however,onthebasisofhisphilosophic
background,anditaffordsanexcellentinstanceofwhathappenswhenthe
theoristsuperimposesphilosophicpreconceptionsuponanarrestedesthetic

experience.ForCroceisaphilosopherwhobelievesthattheonlyrealexistence
ismind,thattheobjectdoesnotexistunlessitisknown,thatitisnotseparable
fromtheknowingspirit.Inordinaryperception,objectsaretakenasiftheywere
externaltomind.Therefore,awarenessofobjectsofartandofnaturalbeautyis
notacaseofperception,butofanintuitionthatknowsobjectsas,themselves,
statesofmind.Whatweadmireinaworkofartistheperfectimaginativeformin
whichastateofmindhasclotheditself.Intuitionsaretrulysuchbecausethey
representfeelings.

THECHALLENGETOPHILOSOPHY 295

Hencethestateofmindthatconstitutesaworkofartisexpressionasa
manifestationofastateofmind,andisintuitionasknowledgeofastateofmind.
Idonotrefertothetheoryforthepurposeofrefutationbutasindicationofthe
extremetowhichphilosophymaygoinsuperimposingapreconceivedtheory
uponestheticexperience,resultinginarbitrarydistortion.
Schopenhauer,likeCroce,showsinmanyincidentalreferences,more,not
less,sensitivenesstoworksofartthanmostphilosophers.Buthisversionof
estheticintuitionisworthreferringtoasanotherinstanceofcompletefailureof
philosophytomeetthechallengethatartofferstoreflectivethought.Hewrote
whenKanthadsettheproblemofphilosophybyinstitutingasharpseparation
betweensenseandphenomena,reasonandphenomena:andtosetaproblem
isthemosteffectivewayofinfluencingsubsequentthought.Schopenhauers
theoryofart,inSpiteofmanyacuteremarks,isbutadialecticaldevelopmentof
hissolutionoftheKantianproblemoftherelationofknowledgetoreality,andof
phenomenatoultimatereality.
Kanthadmadethemoralwill,controlledbyconsciousnessofdutythat
transcendssenseandexperience,theonlygatewaytoassuranceofultimate
reality.ToSchopenhauer,anactiveprinciplehetermedWillisthecreative
sourceofallphenomenaofbothnatureandthemorallife,whilewillisaformof
restlessandinsatiablestrivingthatisdoomedtoeverlastingfrustration.Theonly
roadtopeaceandenduringsatisfactionisescapefromwillandallitsworks.Kant
hadalreadyidentifiedestheticexperiencewithcontemplation.Schopenhauer
declaredthatcontemplationisthesolemodeofescape,andthat,in
contemplatingworksofart,wecontemplatetheobjectificationsofwill,and

therebyfreeOUSSelvesfromtheholdwillhasuponusinallothermodesof
experience.TheobjectificationofWillareuniversalstheyarelikePlatoseternal
formsandpatterns.Inpurecontemplationofthemweloseourselves,therefore,
intheuniversal,andobtaintheblessednessofwilllessperception.
ThemosteffectivecriticismofSchopenhauerstheoryisfoundinhisown
developmentofthetheory.Herulescharmoutfromart,becausecharmsignifies
attraction,andattractioniSamodeofresponsebywill,beingindeedthepositive
aspectofthatrelationofdesiretotheobjectwhichisexpressedinitS

296

ARTASEXPERIENCE

negativeaspectbydisgust.Moreimportantisthefixedhierarchical
arrangementheinstitutes.Notonlyarebeautiesofnaturelowerthanthoseofart
sincewillobtainsahigherdegreeofobjectificationinmanthaninnature,butan
orderfrominferiortosuperiorrunsthroughbothnatureandart.The
emancipationweobtainincontemplatingverdures,trees,flowersisslighterthan
thatwhichwegetfromcontemplatingformsofanimallife,whilethebeautyof
humanbeingsisthehighest,sinceWillisfreedfromslaveryinthelattermodes
ofitsmanifestations.
Inworksofart,architectureranksasthelowest.Thereasongivenisalogical
deductionfromhissystem.TheforcesofWilluponwhichitdependsareofthe
lowestorder,namely,cohesionandgravityasmanifestinsolidrigidityand
massiveweight.Hencenobuildingmadeofwoodcanbetrulybeautiful,andall
humanaccessoriesmustberuledoutofestheticeffectbecausetheyarebound
todesire.Sculptureishigherthanarchitecture,becausethoughitisstillboundto
lowformsofWillforce,itdealswiththemasmanifestedinthehumanfigure.
Paintingdealswithshapesandfiguresandthuscomesnearertometaphysical
forms.Inliterature,especiallypoetry,werisetotheessentialIdeaofman
himself,andthusreachtheacmeofthe
results
ofWill.
Musicisthehighestofthearts,becauseitgivesusnotmerelytheexternal
objectificationsofWillbutalsosetsbeforeusforcontemplationthevery
processes
ofWill.Moreover,thedefiniteintervalsofthescaleareparallelto
definitegradesofobjectificationofWill,correspondingtodefinitespeciesin
nature.Bassnotesrepresenttheworkingsofthelowestforces,whilehigher

notesrepresentforcognitiontheforcesofanimallife,andmelodypresentsthe
intellectuallifeofman,thehighestthinginobjectiveexistence.
Forthepurposeofgivinginformationmysummaryisscantand,asIhave
alreadysaid,manyofSchopenhauersincidentalremarksarejustand
illuminating.Buttheveryfactthatheshowsmanyevidencesofgenuineand
personalappreciationaffordsallthebetterevidenceofthesortofthingthat
happenswhenthereflectionsofaphilosophicthinkerarenotprojectionsin
thoughtoftheactualsubjectmatterofartasanexperience,butaredeveloped
withoutrespecttoartandarethenforcedintoasubstituteforit.Myintention
throughoutthischapter

THECHALLENGETOPHILOSOPHY 297

hasnotbeentocriticizevariousphilosophiesofartassuch,buttoelicitthe
significancethatarthasforphilosophyin
its
broadestscope.Forphilosophylike
artmovesinthemedinmofimaginativemind,and,sinceartisthemostdirect
andcompletemanifestationthereisofexperience
as
experience,itprovidesa
uniquecontrolfortheimaginativeventuresofphilosophy.
Inartasanexperience,actualityandpossibilityorideality,thenewandthe
old,objectivematerialandpersonalresponse,theindividualandtheuniversal,
surfaceanddepth,senseandmeaning,areintegratedinanexperienceinwhich
theyarealltransfiguredfromthesignificancethatbelongstothemwhenisolated
inreflection.Nature,saidGoethe,hasneitherkernelnorshell.Onlyinesthetic
experienceisthisstatementcompletelytrue.Ofartasexperienceitisalsotrue
thatnaturehasneithersubjectivenorobjectivebeingisneitherindividualnor
universal,sensuousnorrational.Thesignificanceofartasexperienceis,
therefore,incomparablefortheadventureofphilosophicthought.

CHAPTERXIII
CRITICISMANDPERCEPTION

C
RTTTCISMisjudgment,ideallyaswellasetymologically.Understandingof
judgmentisthereforethefirstconditionfortheoryaboutthenatureofcriticism.
Perceptionssupplyjudgmentwithitsmaterial,whetherthejudgmentspertainto
physicalnature,topoliticsorbiography.Thesubjectmatterofperceptionisthe
onlythingthatmakesthedifferenceinthejudgmentswhichensue.Controlofthe
subjectmatterofperceptionforensuringproperdataforjudgmentisthekeyto
theenormousdistinctionbetweenthejudgmentsthesavagepassesonnatural
eventsandthatofaNewtonoranEinstein.Sincethematterofestheticcriticism
istheperceptionofestheticobjects,naturalandartisticcriticismisalways
determinedbythequalityoffirsthandperceptionobtusenessinperceptioncan
neverbemadegoodbyanyamountoflearning,howeverextensive,norany
commandofabstracttheory,howevercorrect.Norisitpossibletoexclude
judgmentfromenteringintoestheticperception,oratleastfromsupervening
uponafirsttotalunanalyzedqualitativeimpression.
Theoretically,itshouldthereforebepossibletoproceedatoncefromdirect
estheticexperiencetowhatisinvolvedinjudgment,thedewsbeinggivenonone
sidefromtheformedmatterofworksofartastheyexistinperception,and,on
theotherside,fromwhatisinvolvedinjudgmentbythenatureofitsown
structure.But,infact,itisfirstnecessarytocleartheground.Forunreconciled
differencesastothenatureofjudgmentarereflectedintheoriesofcriticism,
whilediversetendenciesamongtheartshavegivenrisetoopposedtheoriesthat

aredevelopedandassertedforthesakeofjustifyingonemovementand
condemninganother.Indeed,thereisgroundforholdingthatthemostvital
questionsinesthetictheoryaregenerallytobefoundincontroversiesregarding
specialmovementsinsomeart,likefunctionalisminarchitecture,purepoetry
orfreeverse
298

CRITICISMANDPERCEPTION 299

inliterature,expressionisminthedrama,thestreamofconsciousnessin
thenovel,proletarianartandtherelationoftheartisttoeconomicconditions
andrevolutionarysocialactivities.Suchcontroversiesmaybeattendedwithheat
andprejudice.Buttheyaremorelikelytobeconductedwithaneyedirected
uponconcreteworksofartthanarelucubrationsuponesthetictheoryinthe
abstract.Yettheycomplicatethetheoryofcriticismwithideasandaimsderived
fromexternalpartisanmovements.
Itcannotbesafelyassumedattheoutsetthatjudgmentisanactof
intelligenceperformeduponthematterofdirectperceptionintheinterestofa
moreadequateperception.Forjudgmenthasalsoalegalisticmeaningand
import,asinShakespearesphrase,acritic,nay,anightwatchman.Following
thesignificationsuppliedbythepracticeofthelaw,ajudge,acritic,isonewho
pronouncesanauthoritativesentence.Wehearconstantlyoftheverdictof
critics,andoftheverdictofhistorypronounceduponworksofart.Criticismis
thoughtofasifitsbusinesswerenotexplicationofthecontentofanobjectasto
substanceandform,butaprocessofacquittalercondemnationonthebasisof
meritsanddemerits.
Thejudgeinthejudicialsenseoccupiesaseatofsocialauthority.His
sentencedeterminesthefateofanindividual,perhapsofacause,andupon
occasionitsettlesthelegitimacyoffuturecoursesofaction.Desireforauthority
(anddesiretobelookedupto)animatesthehumanbreast.Muchofour
existenceiskeyedtothenoteofpraiseandblame,exculpationanddisapproval.
Hencetherehasemergedintheory,reflectingawidespreadtendencyinpractice,
adispositiontoerectcriticismintosomethingjudicial.Onecannotreadwidelyin

theoutgivingsofthisschoolofcriticismwithoutseeingthatmuchofitisofthe
compensatorytypethefactwhichhasgivenrisetothegibethatcriticsare
thosewhohavefailedincreation.Muchcriticismofthelegalisticsortproceeds
fromsubconsciousselfdistrustandaconsequentappealtoauthorityfor
protection.Perceptionisobstructedandcutshortbymemoryofaninfluential
rule,andbythesubstitutionofprecedentandprestigefordirectexperience
Desireforauthoritativestandingleadsthecritictospeakasifhewerethe
attorneyforestablishedprincipkshavingunquestionablesovereignty.

300

ARTASEXPERIENCE

Unfortunatelysuchactivitieshaveinfectedtheveryconceptionofcriticism.
Judgmentthatisfinal,thatsettlesamatter,ismorecongenialtounregenerate
humannaturethanisthejudgmentthatisadevelopmentinthoughtofadeeply
realizedperception.Theoriginaladequateexperienceisnoteasytoattainits
achievementisatestofnativesensitivenessandofexperiencematuredthrough
widecontacts.Ajudgmentasanactofcontrolledinquirydemandsarich
backgroundandadisciplinedinsight.Itismucheasiertotellpeoplewhatthey
shouldbelievethantodiscriminateandunify.Andanaudiencethatisitself
habituatedtobeingtold,ratherthanschooledinthoughtfulinquiry,likestobe
told.
Judicialdecisioncanbemadeonlyonthebasisofgeneralrulessupposedto
beapplicabletoallcases.Theharmdonebyparticularinstancesofjudicial
sentence,asparticular,ismuchlessseriousthanthenetresultindevelopingthe
notionandantecedentauthoritativestandardsandprecedentsareathandby
whichtojudge.Thesocalledclassicismoftheeighteenthcenturyallegedthat
theancientsprovidedmodelsfromwhichrulescouldbederived.Theinfluenceof
thisbeliefextendedfromliteraturetootherbranchesofart.Reynolds
recommendedtostudentsofarttheobservanceoftheartformsofUmbrianand
Romanpainters,and,warningthemagainstothers,saidofTintorettothathis
inventionsarewild,capricious,extravagantandfantastic.
Atemperateviewoftheimportanceofthemodelsfurnishedbythepastis
givenbyMatthewArnold.Hesaysthatthebestwaytodiscoverwhatpoetry
belongstotheclassofthetrulyexcellent,and
canthereforedousthemost
good,
istohavealwaysinone~smindlinesandexpressionsofthegreat

masters,andtoapplythemasatouchstonetootherpoetry.Hedeniesthathe
meansthatotherpoetryshouldbereducedtoimitation,butsaysthatsuchlines
areaninfallibletouchstonefordetectingthepresenceorabsenceofhighpoetic
quality.AsidefromthemoralisticelementinvolvedinthewordsIhavetakenthe
libertyofitalicizing,theideaofaninfallibletestisbound,ifactedupon,tolimit
directresponseinperception,tointroduceselfconsciousnessandrelianceupon
extraneousfactors,allharmfultovitalappreciation.Moreover,thereisinvolved
thequestion

CRITICISMANDPERCEPTION 301

astowhetherthemasterpiecesofthepastareacceptedassuchbecauseof
personalresponseorontheauthorityoftraditionandconvention.Matthew
Arnoldisreallyassuminganultimatedependenceuponsomeonespersonal
powerofjustperception.
Representativesoftheschoolofjudicialcriticismdonotseemtobesure
whetherthemastersaregreatbecausetheyobservecertainrulesorwhetherthe
rulesnowtobeobservedarederivedfromthepracticeofgreatmen.Ingeneral,
itissafetoassume,Ithink,thatrelianceuponrulesisaweakened,amitigated,
versionofaprior,moredirect,admiration,finallybecomeservile,oftheworkof
outstandingpersonalities.Butwhethertheyaresetupontheirownaccountor
arederivedfrommasterpieces,standards,prescriptions,andrulesaregeneral
whileobjectsofartareindividual.Theformerhavenolocusintime,afact
naIvelystatedincallingthemeternal.Theybelongneitherherenorthere.In
applyingtoeverything,theyapply
to
nothinginparticular.Inordertoget
concreteness,theyhavetobereferredforexemplificationtotheworkofthe
masters.Thusinfacttheyencourageimitation.Themastersthemselvesusually
serveanapprenticeship,butastheymaturetheyabsorbwhattheyhavelearned
intotheirownindividualexperience,vision,andstyle.Theyaremastersprecisely
becausetheydonotfolloweithermodelsorrulesbutsubduebothofthesethings
toserveenlargementofpersonalexperience.Tolstoispokeasanartistwhenhe
saidthatnothingsocontributestotheperversionofartastheseauthoritiesset
upbycriticism.Onceanartistispronouncedgreatallhisworksareregardedas
admirableandworthyof.........Everyfalseworkextolledisadoorthroughwhich
hypocritesofartcreepin.

Ifjudicialcriticsdonotlearnmodestyfromthepasttheyprofesstoesteem,it
isnotfromlackofmaterial.Theirhistoryislargelytherecordofegregious
blunders.TheconunemorativeexhibitionofpaintingsbyRenoirinParisinthe
summerof1933Wastheoccasionforexhumingsomeofthedeliverancesof
officialcriticsoffiftyyearsbefore.Thepronouncementsvaryfromassertionsthat
thepaintingscauseanausealikethatofseasickness,areproductsofdiseased
min~afavoritestatementthattheymixatrandomthemostviolentcolors,to
anassertionthattheyaredenialsofallthatis
permissible
[characteristicword]in

302

ARTASEXPERIENCE

painting,ofeverythingcalledlight,transparenceandshade,clarityand
design.Aslateas1897,agroupofacademicians(alwaysthefavoritesof
judicialcriticism)protestedagainsttheacceptancebytheLuxembourgMuseum
ofacollectionofpaintingsbyRenoir,Cezanne,andMonet,andoneofthem
statedthatitwasimpossiblethattheInstituteshouldbesilentinthepresenceof
suchascandalasreceptionofacollectionofinsanitiessinceitistheguardianof
traditionanotherideacharacteristicofjudicialcriticism.*
Thereis,however,acertainlightnessoftouchusuallyassociatedwithFrench
criticism.Forrealmajestyofpronunciamentowemayturntotheoutgivingsofan
AmericancriticontheoccasionoftheArmoryexhibitioninNewYorkinsgr3.
UnderthecaptionoftheineffectualnessofC~zanne,itissaidthatthelatterisa
secondrateimpressionistwhohadnowandthenfairluckinpaintinga
moderatelygoodpicture.ThecruditiesofVanGogharedisposedofasfollows:
Amoderatelycompetentimpressionistwhowasheavyhanded(I),andwhohad
littleideaofbeautyandspoiledalotofcanvaswithcrudeandunimportant
pictures.Matisseisdisposedofasonewhohasrelinquishedallrespectfor
technique,allfeelingforhismediumcontenttodaubhiscanvaswithlinearand
tonalcoarseness.Theirnegationofallthattrueartimpliesissignificantofsmug
complacency....Theyarenotworksofartbutfeebleimpertinences.The
referencetotrueartischaracteristicofjudicialcriticism,nevermoreinjudicious
thaninthiscasewithitsreversalofwhatissignificantintheartistsmentioned:
VanGoghbeingexplosiveratherthanheavyhandedMatissebeingatechnician
almosttoafault,andinherentlydecorativeratherthancoarsewhilesecond
rateappliedtoCezannespeaksforitself.Yetthiscritichadbythistime

acceptedtheimpressionistpaintingofManetandMonetitwas
1913
insteadof
twentyyearsearlierandhisspiritualoffspringwilldoubtlessholdupC&anneand
Matisseasstandardsbywhichtocondemnsomefuturemovementintheartof
painting.
Thecriticismjustquotedwasprecededbyotherremarksthatindicatethe
natureofthefallacythatisalways

*
ThegreaterpartofthecollectionisnowintheLouvreasufficientcomment
onthecompetencyofofficialcriticism.

CRITICISMANDPERCEPTION 303

involvedinlegalisticcriticism:confusionofaparticulartech.niquewith
estheticform.Thecriticinquestionquotedfromapublishedcommentofavisitor
whowasnotaprofessionalcritic.Thelattersaid,Ineverheardacrowdof
peopletalksomuchaboutmeaningandaboutlifeandsolittleabouttechnique,
values,tones,drawing,perspective,studiesinblueandwhite,etc.Thenthe
judicialcriticadds:Wearegratefulforthisbitofconcreteevidenceofthefallacy
whichmorethanothersthreatenstomisleadandcompletelyobfuscatethetoo
confidingobservers.Togotothisexhibitionwithasolicitudeaboutmeaningand
aboutlifeattheexpenseofmattersoftechniqueisnotsimplytobegthe
questionitistogiveitawaywithbothhands.Inart,elementsofmeaningand
lifedonotexistuntiltheartisthasmasteredthosetechnicalprocessesbywhich
hemayormaynothavegeniustocallthem
[sic]
intobeing.
Theunfaimessoftheimplicationthattheauthorofthecommentintendedto
ruleoutmattersoftechniqueissocharacteristicofallegedjudicialcriticismthatit
issignificantonlybecauseitindicateshowcompletelythecriticcanthinkof
techniqueonlyasitisidentifiedwithsomeonemodelofprocedure.Andthisfact
isdeeplysignificant.Itindicatesthesourceofthefailureofeventhebestof
judicialcriticism:itsinabilitytocopewiththeemergenceofnewmodesoflifeof
experiencesthatdemandnewmodesofexpression.Allofthepostimpressionist
painters(withthepartialexceptionofCezanne)hadshownintheirearlyworks
thattheyhadcommandofthetechniquesofthemastersthatimmediately
precededthem.TheinfluenceofCourbet,DelaCroix,evenofIngres,pervades
them.ButthesetechniqueswereSuitedtotherenderingofoldthemes.Asthese
paintersmatured,theyhadnewvisionstheysawtheworldinwaystowhich

olderPainterswereinsensitive.Theirnewsubjectmatterdemandedaflewform.
Andbecauseoftherelativityoftechniquetoform,theywerecompelledto
experimentwiththedevelopmentofnewtechnicalprocedures.*Anenviromnent
thatischangedphysicallyandSPirituallydemandsnewformsofexpression.
Irepeatthatherewehaveexposedtheinherentdefectofeventhebestof
judicialcriticism.TheverymeaningofanimPortantnewmovementinanyartis
thatitexpressessomething
*
See
ante,
p.
142.

304

ARTASEXPERIENCE

newinhumanexperience,somenewmodeofinteractionofthelivecreature
withhissurroundings,andhencethereleaseofpowerspreviouslycrampedor
inert.Themanifestationsofthemovementthereforecannotbejudgedbutonly
misjudgedwhenformisidentifiedwithafamiliartechnique.Unlessthecriticis
sensitivefirstofalltomeaningandlifeasthematterwhichrequiresitsown
form,heishelplessinthepresenceoftheemergenceofexperiencethathasa
distinctivelynewcharacter.Everyprofessionalpersonissubjecttotheinfluence
ofcustomandinertia,andhastoprotecthimselffromitsinfluencesbya
deliberateopennesstolifeitself.Thejudicialcriticerectstheverythingsthatare
thedangersofhiscallingintoaprincipleandnorm.

THEblunderingineptnessofmuchthatcallsitselfjudicialcriticismhascalled
outareactiontotheoppositeextreme.Theprotesttakestheformof
impressionistcriticism.Itisineffect,ifnotuswords,adenialthatcriticisminthe
senseofjudgmentispossible,andanassertionthatjudgmentshouldbe
replacedbystatementoftheresponsesoffeelingandimagerytheartobject
evokes.Intheory,thoughnotalwaysinpractice,suchcriticismreactsfromthe
standardizedobjectivityofreadymaderulesandprecedentstothechaosofa
subjectivitythatlacksobjectivecontrol,andwould,iflogicallyfollowedout,result
inamedleyofirrelevanciesandsometimesdoes.JulesLemaitrehasgivenan
almostcanonicalstatementoftheimpressionisticpointofview.Hesaid:
Criticism,whateverbeitspretensions,cannevergobeyonddefiningthe
impressionwhich,atagivenmoment,ismadeonusbyaworkofartwhereinthe

artisthashimselfrecordedtheimpressionwhichhereceivedfromtheworldata
certainhour.
Thestatementincludesanimplicationwhich,whenitismadeexplicit,goes
farbeyondtheintentionoftheimpressionisttheory.To
define
animpression
signifiesagooddealmorethanjusttoutterit.Impressions,totalqualitative
unanalyzedeffectsthatthingsandeventsmakeuponus,aretheantecedents
andbeginningsofalljudgments.*Thebeginningofanewidea,terminating
perhapsinanelaboratejudgmentfollowinguponextensive
*See
ante,
p.
I~I.

CRITICISMANDPERCEPTION 305

inquiry,isanimpression,eveninthecaseofascientificmanorphilosopher.
Buttodefineanimpressionistoanalyzeit,andanalysiscanproceedonlyby
goingbeyondtheimpression,byreferringittothegroundsonwhichitrestsand
theconsequenceswhichitentails.Andthisprocedureisjudgment.Evenifthe
onewhocommunicateshisimpressionconfineshisexpositionofit,his
demarcationanddelimitation,togroundsthatlieinhisowntemperamentand
personalhistory,takingthereaderfranklyintohisconfidence,hestillgoes
beyondthebareimpressiontosomethingobjectivetoit.Thushegivesthe
readergroundforanimpressiononhisownpartthatismoreobjectively
groundedthananyimpressioncanbethatisfoundedonamereitseems
to
me.Fortheexperiencedreaderisthengiventhemeansofdiscriminating
amongdifferentimpressionsofdifferentpersonsonthebasisofthebiasand
experienceofthepersonwhohasthem.
Thereferencetoobjectivegroundshavingbegunwithstatementofpersonal
historycannotstopthere.Thebiographyoftheonewhodefineshisimpressionis
notlocatedinsidehisownbodyandmind.Itiswhatitisbecauseofinteractions
withtheworldoutside,aworldwhichinsomeofitsaspectsandphasesis
commonwiththatofothers.Ifthecriticiswise,hejudgestheimpressionthat
occursatacertainhourofhisownhistorybyconsideringtheobjectivecauses
thathaveenteredintothathistory.Unlesshedoesso,atleastimplicitly,the
discriminatingreaderhastoperformthetaskforhimunlesshesurrenders
himselfblindlytotheauthorityoftheimpressionitself.Inthelattercase,thereis
nodifferenceamongimpressionstheinsightofacultivatedmindandthegushof
theimmatureenthusiaststandonthesamelevel.

ThesentencequotedfromLemaitrehasanothersignificantimplication.Itsets
forthaproportionthatisobjective:ashis5ubject~matteristotheartist,soisthe
workofarttothecritic.Iftheartistisnumbandifhedoesnotimpregnatesome
insmediateimpressionwithmeaningsderivedfromapriorrichfunded
experience,hisproductismeageranditsformismechanical.Thecase
is
not
othe~isewithacritic.ThereisanillicitSuggestioncontainedinthereferenceto
theimpressionoftheartistasoccurringatacertainhourandthatofthecriticus

306

ARTASEXPERIENCE

takingplaceatagivenmoment.Thesuggestionisthatbecausethe
impressionexistsataparticularmoment,itsimportislimitedtothatbriefspace
oftime.Theimplicationisthefundamentalfallacyofimpressionistcriticism.
Everyexperience,eventhatcontainingaconclusionduetolongprocessesof
inquiryandreflection,existsatagivenmoment.Toinferfromthisfactthatits
importandvalidityareaffairsofthatpassingmomentistoreduceallexperience
toashiftingkaleidoscopeofmeaninglessincidents.
Moreover,thecomparisonoftheattitudeofacritictowardaworkofarttothat
oftheartisttowardhissubjectmatterissojustastobefataltotheimpressionist
theory.Fortheimpressiontheartisthasdoesnotconsistofimpressionsit
consistsofobjectivematerialrenderedbymeansofimaginativevision.The
subjectmatterischargedwithmeaningsthatissuefromintercoursewitha
commonworld.Theartistinthefreestexpressionofhisownresponsesisunder
weightyobjectivecompulsions.Thetroublewithverymuchcriticism,asidefrom
theimpressionistlabel,isthatthecriticdoes
not
takeanattitudetowardthework
criticizedthatanartisttakestowardtheimpressionshehasreceivedfromthe
world.Thecriticcangooffintoirrelevanciesandarbitrarydictamuchmore
readilythantheartist,whilefailuretobecontrolledbysubjectmatterismuch
moreevidenttoeyeandearthanisacorrespondingfailureonthepartofthe
critic.Thetendencyofthecritictodwellinaworldapartisgreatenoughinany
casewithoutbeingsanctionedbyaspecialtheory.
Wereitnotfortheblundersmadebythejudicialcritic,blundersthatproceed
fromthetheoryheholds,thereactionoftheimpressionisttheorywouldhardly
havebeencalledforth.Becausetheformersetupfalsenotionsofobjective

valuesandobjectivestandards,itwasmadeeasyfortheimpressionistcriticto
denythereareobjectivevaluesatall.Becausetheformerhasvirtuallyadopteda
conceptionofstandardsthatisofanexternalnature,derivedfromuseof
standardsdevelopedforpracticalends,andlegallydefined,thelatterhas
assumedtherearenocriteriaofanysort.Initsprecisesignification,astandard
isunambiguous.itisaquantitativemeasure.Theyardasastandardoflength,
thegallonasastandardofliquidcapacity,are

CRITICISMANDPERCEPTION 307

aspreciseaslegaldefinitionscanmakethem.Thestandardofliquid
measureforGreatBritainwasdefined,forexample,byanactofParliamentin
1825.Itisacontainerholdingtenpoundsavoirdupoisofdistilledwater,weighed
inairwiththebarometeratthirtyinchesandtheFahrenheitthermometerat
sixtytwodegrees.
Therearethreecharacteristicsofastandard.Itisaparticularphysicalthing
existingunderspecifiedphysicalconditionsitis
not
avalue.Theyardisa
yardstick,andthemeterisabardepositedinParis.Inthesecondplace,
standardsaremeasuresofdefinitethings,oflengths,weights,capacities.The
thingsmeasuredarenotvalues,althoughitisofgreatsocialvaluetobeableto
measurethem,sincethepropertiesofthingsinthewayofsize,volume,weight,
areimportantforcommercialexchange.Finally,asstandardsofmeasure,
standardsdefinethingswithrespectto
quantity.
Tobeabletomeasurequantities
isagreataidtofurtherjudgments,butitisnotitselfamodeofjudgment.The
standard,beinganexternalandpublicthing,isapplied
physically.
Theyardstick
isphysicallylaiddownuponthethingsmeasuredtodeterminetheirlength.
When,therefore,thewordstandardisusedwithrespecttojudgmentof
worksofart,nothingbutconfusionresults,unlesstheradicaldifferenceinthe
meaningnowgivenstandardfromthatofstandardsofmeasurementisnoted.
Thecriticisreallyjudging,notmeasuringphysicalfact.Heisconcernedwith
somethingindividual,notcomparativeasisallmeasurement.His
subjectmatterisqualitative,notquantitative.Thereisnoexternalandpublic
thing,definedbylawtobethesameforalltransactions,thatcanbephysically
applied.Thechildwhocanuseayardstickcanmeasureaswellasthemost

experiencedandmatureperson,ifhecanhandlethestick,sincemeasuringis
notjudgmentbutisaphysicaloperationperformedforthesakeofdetermining
valueinexchangeorinbehalfofsomefurtherphysicaloperationasa
carpentermeasarestheboardswithwhichhebuilds.Thesamecannotbesaid
ofjudgmentofthevalueofanideaorthevalueofaworkofart.
Becauseoffailureofcriticstorealizethedifferencebetweenthemeaningof
standardasappliedinmeasurementandasusedinjudgmentorcriticism,Mr.
Grudincansayofacritic

308

ARTASEXPERIENCE

whoisabelieverinafixedstandardwithrespecttoworksofart:His
procedurehasbeenthatofanexcursionforwordsandnotionstosupporthis
claims,whereverhecouldfindthemandhehashadtotrusttothemeaningshe
couldreadintoalreadyavailableoddsandendsbelongingtovariousfieldsand
gatheredintoamakeshiftcriticaldoctrine.Andthis,headdswithnottoogreat
severity,istheusualprocedurefollowedbyliterarycritics.
Yetitdoesnotfollowbecauseofabsenceofanuniformandpublicly
determinedexternalobject,thatobjectivecriticismofartisimpossible.What
followsisthatcriticismisjudgmentthatlikeeveryjudgmentitinvolvesaventure,
ahypotheticalelementthatitisdirectedtoqualitieswhicharenevertheless
qualitiesofan
object
andthatitisconcernedwithanindividualobject,notwith
makingcomparisonsbymeansofanexternalpre~stablishedrulebetween
differebtthings.Thecritic,becauseoftheelementofventure,revealshimselfin
hiscriticisms.Hewandersintoanotherfieldandconfusesvalueswhenhe
departsfromtheobjectheisjudging.Nowherearecomparisonssoodiousasin
fineart.
Appreciationissaidtooccurwithrespecttovalues,andcriticismiscurrently
supposedtobeaprocessofvaluation.Thereis,ofcourse,truthinthe
conception.Butitisfraught,incurrentinterpretation,withahostof
equivocations.Afterall,oneisconcernedwiththevaluesofapoem,a
stageplay,apainting.Oneisawareofthemasqualitiesinqualitativerelations.
Onedoesnotatthetimecategorizethem
as
values.Onemaypronounceaplay
fineorrotten.Ifonetermsuchdirectcharacterizationvaluing,thencriticismis
not
valuing.Itisaverydifferentsortofthingthanadirectejaculation.Criticismis

asearchforthepropertiesoftheobjectthatmayjustifythedirectreaction.And
yet,ifthesearchissincereandinformed,itisnot,whenitisundertaken,
concernedwithvaluesbutwiththeobjectivepropertiesoftheobjectunder
considerationifapainting,withitscolors,lights,placings,volumes,intheir
relationstooneanother.Itisasurvey.Thecriticmayormaynotattheend
pronouncedefinitelyuponthetotalvalueoftheobject.Ifhedoes,his
pronouncementwillbemoreintelligentthanitwouldotherwisehavebeen,
becausehisperceptiveappreciationisnowmoreinstructed.

CRITICISMANDPERCEPTION 309

Butwhenhedoessumuphisjudgmentoftheobject,hewill,ifheiswary,do
soinawaythatisasummaryoftheoutcomeofhisobjectiveexamination.He
willrealizethathisassertionofgoodorbadinthisandthatdegreeis
somethingthegoodnessorbadnessofwhichisitselftobetestedbyother
personsintheirdirectperceptualcommercewiththeobject.Hiscriticismissues
asasocialdocumentandcanbecheckedbyotherstowhomthesameobjective
materialisavailable.Hencethecritic,ifheiswise,eveninmaking
pronouncementsofgoodandbad,ofgreatandsmallinvalue,willlaymore
emphasisupontheobjectivetraitsthatsustainhisjudgmentthanuponvaluesin
thesenseofexcellentandpoor.Thenhissurveysmaybeofassistanceinthe
directexperienceofothers,asasurveyofacountryisofhelptotheonewho
travelsthroughit,whiledictaaboutworthoperatetolimitpersonalexperience.
Iftherearenostandardsforworksofartandhencenoneforcriticism(inthe
senseinwhichtherearestandardsofmeasurement),there~renevertheless
criteriainjudgment,sothatcriticismdoesnotfallinthefieldofmere
impressionism.Thediscussionofforminrelationtomatter,ofthemeaningof
mediuminart,ofthenatureoftheexpressiveobject,hasbeenanattemptonthe
partofthewritertodiscoversomeofthesecriteria.Butsuchcriteriaarenotrules
orprescriptions.Theyaretheresultofanendeavortofindoutwhataworkofart
isasanexperience:
thekindofexperiencewhichconstitutesit.Asfarastheconclusionsarevalid,
theyareofuseasinstrumentalitiesofpersonalexperience,notasdictationsof
whattheattitudeofanyoneshouldbe.Statingwhataworkofartisasan
experience,mayrenderparticularexperiencesofparticularworksofartmore

pertinenttotheobjectexperienced,moreawareofitsowncontentandintent.
Thisisallanycriterioncandoandifandasfarastheconclusionsareinvalid,
bettercriteriaaretobesetforthbySnimprovedexaminationofthenatureof
worksofartingeneralasamodeofhumanexperience.

CRITICISMisjudgment.Thematerialoutofwhichjudgmentgrowsisthe
work,theobject,butitisthisobjectasitentersintotheexperienceofthecriticby
interactionwithhisownsemi

310

ARTASEXPERIENCE

tivityandhisknowledgeandfundedstorefrompastexperiences.Astotheir
content,therefore,judgmentswillvarywiththeconcretematerialthatevokes
themandthatmustsustainthemifcriticismispertinentandvalid.Nevertheless,
judgmentshaveacommonformbecausetheyallhavecertainfunctionsto
perform.Thesefunctionsarediscriminationandunification.Judgmenthasto
evokeaclearerconsciousnessofconstituentpartsandtodiscoverhow
consistentlythesepartsarerelatedtoformawhole.Theorygivesthenamesof
analysisandsynthesistotheexecutionofthesefunctions.
Theycannotbeseparatedfromeachother,becauseanalysisisdisclosureof
partaspartsofawholeofdetailsandparticularsasbelongingtototalsituation,
auniverseofdiscourse.Thisoperationistheoppositeofpickingtopiecesor
dissection,evenwhensomethingofthelattersortisrequiredinordertomake
judgmentpossible.Norulescanbelaidfortheperformanceofsodelicateanact
asdeterminationofthesignificantpartsofawhole,andoftheirrespectiveplaces
andweightsinthewhole.Thisisthereason,perhaps,whyscholarly
dissertationsuponliteraturearesooftenmerelyscholasticenumerationsof
minuti2,andsocalledcriticismsofpaintingsareoftheorderofanalysesof
handwritingbyexperts.
Analyticjudgmentisatestofthemindofthecritic,sincemind,as
organizationintoperceptionsofmeaningsderivedfrompastintercoursewith
objects,istheorganofdiscrimination.Hencethesafeguardofthecriticisa
consuminginformedinterest.Isayconsumingbecausewithoutnatural
sensitivityconnectedwithanintenselikingforcertainsubjectmatters,acritic,
havingevenawiderangeoflearning,willbesocoldthatthereisnochanceof

hispenetratingtheheartofaworkofart.Hewillremainontheoutside.Yet,
unlessaffectionisinformedwiththeinsightthatistheproductofarichandfull
experience,judgmentwillbeonesidedornotriseabovethelevelofgushy
sentimentalism.Learningmustbethefuelofwarmthofinterest.Forthecriticin
thefieldofart,thisinformedinterestsignifiesacquaintancewiththetraditionof
hisparticularartanacqunintancethatismorethanknowledgeaboutthemsince
itisderivedfrompersonalintimacywiththeobjectsthathaveformedthe
tradition.Inthissenseacquaintancewithmasterpieces,and

CRITICISMANDPERCEPTION 311

withlessthanmasterpieces,isatouchstone,ofsensitiveness,thoughnota
dictatorofappraisals.Formasterpiecesthemselvescanbecriticallyappreciated
onlyastheyareplacedinthetraditiontowhichtheybelong.
Thereisnoartinwhichthereisonlyasingletradition.Thecriticwhoisnot
intimatelyawareofavarietyoftraditionsisofnecessitylimitedandhiscriticisms
willbeonesidedtothepointofdistortion.Thecriticismsofpostimpressionistic
paintingthatwerecitedcamefrompersonswhothoughttheywereexpert
becauseofexclusiveinitiationintoasingletradition.Intheplasticarts,thereis
thetraditionofNegro,ofPersian,ofEgyptian,ofChineseandJapaneseart,as
wellastheFlorentineandVenetiantraditionstomentionafewoutstanding
ones.Itisbecauseoflackofsenseforthevarietyoftraditionsthatunstable
swingsoffashionmarktheattitudeofdifferentperiodstowardworksofartthe
overestimationofRaphaelandtheRomanschool,forexample,attheexpenseof
TintorettoandElGrecooncecurrent.1\Iuchoftheunendingandsterile
controversyofcriticsadheringexclusivelytoclassicismandromanticismhas
alikesource.Inthefieldofart,therearemanymansionsartistshavebuiltthem.
Throughknowledgeofavarietyofconditions,thecriticbecomesawareofthe
vastvarietyofmaterialsthatareusable(sincetheyhavebeenused)inart.Heis
savedfromthesnapjudgmentthatthisorthatworkisestheticallywrong
becauseithasmattertowhichheisnotaccustomed,andwhenhecomesacross
aworkwhosematterhasnodiscoverableprecedenthewillbewaryofuttering
anoffhandcondemnation.Sinceformisalwaysintegralwithmatter,hewillalso,
ifhisownexperienceisgenuinelyesthetic,appreciatethemultitudeofspecial
formsthatexistandbesafeguardedagainstidentifyingformwithsometechnique

thathehascometoprefer.Inshort,notonlywillhisgeneralbackgroundbe
broadened,buthewillbecomefamiliar,tothepointofsaturation,withamore
fundamentalmatter,theconditionsunderwhichthesubjectmatterofvaried
modesofexperiencemovetofulfillment.Andthismovementconstitutesthe
objectiveandpubliclyaccessiblecontentofallworksofart.
Thisknowledgeofmanytraditionsisnofoetodiscrimination.WhileIhave
spokenforthemostpartofthecondemna

312

ARTASEXPERIENCE

tionspassedbyjudicialcriticisms,itwouldbeeasilypossibletoquoteas
greategregiousblundersinmisplacedlaudations.Absenceofsympathetic
acquaintancewithanumberoftraditionsleadsthecritictoareadyappreciation
ofacademicworksofartprovidedtheyaredonewithexcellenttechnicalfacility.
SeventeenthcenturyItalianpaintingwasmetwithanacclaimthatitwasfarfrom
deservingsimplybecauseitpushedtoanextreme,withtechnicalskill,factors
thatearlierItalianarthadheldwithinbounds.Knowledgeofawiderangeof
traditionsisaconditionofexactandseverediscrimination.Foronlybymeansof
suchaknowledgecanthecriticdetecttheintentofanartistandtheadequacyof
hisexecutionofintent.Thehistoryofcriticismisfilledwithchargesof
carelessnessandwillfulnessthatwouldneverhavebeenbroughtifanadequate
knowledgeoftraditionshadbeenpresent,justasitisfilledwithpraiseforworks
thathavenomeritbeyondaskillfuluseofmaterials.
Inmostcases,thediscriminationofacritichastobeassistedbyaknowledge
ofthedevelopmentofanartist,asthatismanifestedinthesuccessionofhis
works.Onlyrarelycananartistbecriticizedbyasinglespecimenofhisactivity.
TheinabilityisnotmerelybecauseHomersometimesnods,butbecause
understandingofthelogicoithedevelopmentofanartistisnecessaryto
discriminationofhisintentinanysinglework.Possessionofthisunderstanding
broadensandrefinesthebackgroundwithoutwhichjudgmentisblindand
arbitrary.ThewordsofCezanneabouttherelationofexemplarsoftraditionto
theartistareapplicabletothecritic.StudyoftheVenetians,especiallyof
Tintoretto,setsoneuponaconstantsearchformeansofexpressionwhichwill
surelyleadonetoexperiencefromnatureonesownmeansofexpression....

TheLouvreisagoodbooktoconsult,butitisonlyanintermediary.Thediversity
ofthesceneofnatureistherealprodigiousstudytobeundertaken....The
Louvreisabookwherewelearntoread.Butweshouldnotbecontenttokeep
theformuinofourillustriouspredecessors.Letusleavethemsoastostudy
beautifulnatureandsearchtoexpressitaccordingtoourpersonaltemperament.
Timeandreflectiongraduallymodifyvision,andatlastcomprehensioncomes.
Changethetermsthatneedtobechanged,andtheprocedureofthecritic
standsforth.

CRITICISMANDPERCEPTION 313

Criticandartistalikehavetheirpredilections.Thereareaspectsofnatureand
lifethatarehardandothersthataresoftthatareaustereevenbleak,andthat
haveattractivecharmthatareexcitingandthatarepacifying,andsoonalmost
withoutend.Mostschoolsofartexhibitatendencyinonedirectionoranother.
Thensomeoriginalmodeofvisionseizesuponthetendencyandcarriesittoits
limit.Thereis,forexample,thecontrastbetweentheabstractandthe
concretethatis,themorefamiliar.Someartistsworkforextreme
simplification,feelingthatinternalcomplexityleadstoasuperfluitythatdistracts
attentionotherstakeastheirproblemthemultiplicationofinternalspecifications
totheutmostpointconsistentwithorganization.*Thereisagainthedifference
betweenthefrankandopenapproachandtheindirectandallusiveapproachto
vaguematterthatgoesbythenameofsymbolism.Thereareartistswhotend
towardwhatThomasManncallsthedarkanddeathandotherswhorejoicein
lightandair.
Itgoeswithoutsayingthateverydirectionhasdifficultiesanddangersthat
increaseasitapproachesitslimit.Thesymbolicmayloseitselfinunintelligibility
andthedirectmethodinthebanal.Theconcretemethodendsinmere
illustrationandtheabstractinscientificexercise,andsoon.Butyeteachis
justifiedwhenformandmatterachieveequilibrium.Thedangeristhatthecritic,
guidedbypersonalpredilectionormoreoftenbypartisanconventionalism,will
takesomeoneprocedureashiscriterionofjudgmentandcondemnalldeviations
fromitasdeparturesfromartitself.Hethenmissesthepointofallart,theunity
offormandmatter,andmissesitbecausehelacksadequatesympathy,inhis

naturalandacquiredonesidedness,withtheimmensevarietyofinteractions
betweenthelivecreatureandhisworld.
Thereisaunifyingaswellasadiscriminatingphaseofjudgment~technically
knownassynthesisindistinctionfromanalysis.Thisunifyingphase,evenmore
thantheanalytic,isafunctionofthecreativeresponseoftheindividualwho
judges.Itisinsight.Therearenorulesthatcanbelaiddownforitsperformance.
Itisatthispointthatcriticismbecomesitselfanartorelseamechanism
workedbypreceptaccordingtoareadymade
*WL,~jJ~
thetwoexamplesofanimalartaregivenprimarilytoindicatethe
natureofessenceinart,theyalsoexemplifythesetwomethods.

314

ARTASEXPERIENCE

blueprint.Analysis,discrimination,mustresultinunification.Fortobea
manifestationofjudgmentitmustdistinguishparticularsandpartswithrespectto
theirweightandfunctioninformationofanintegralexperience.Withouta
unifyingpointofview,basedontheobjectiveformofaworkofart,criticismends
inenumerationofdetails.ThecriticoperatesafterthemannerofRobinson
Crusoewhenhesatdownandmadeacreditanddebitlistofhisblessingsand
troubles.Thecriticpointsoutsomanyblemishesandsomanymerits,and
strikesabalance.Sincetheobjectisanintegralwhole,ifitisaworkofartatall,
suchametfrdisasboringasitisirrelevant.
Thatthecriticmustdiscoversomeunifyingstrandorpatternrunningthrough
alldetailsdoesnotsignifythathemusthimselfproduceanintegralwhole.
Sometimescriticsofthebettertypesubstituteaworkofartoftheirownforthat
theyareprofessedlydealingwith.Theresultmaybeartbutitisnotcriticism.
Theunitythecritictracesmustbeintheworkofartasitscharacteristic.This
statementdoesnotsignifythatthereisjustoneunifyingideaorforminaworkof
art.Therearemany,inproportiontotherichnessoftheobjectinquestion.What
ismeantisthatthecriticshallseizeuponsomestrainorstrandthatisactually
there,andbringitforthwithsuchclearnessthatthereaderhasanewclueand
guideinhisownexperience.
Apaintingmaybebroughttounitythroughrelationsoflight,ofplanes,of
colorstructurallyemployed,andapoemthroughpredominantlyricordramatic
quality.Andoneandthesameworkofartpresentsdifferentdesignsand
differentfacetstodifferentobserversasasculptormayseedifferentfigures
implicitinablockofstone.Onemodeofunificationonthepartofthecriticisas

legitimateasanotherprovidedtwoconditionsarefulfilled.Oneofthemisthat
thethemeanddesignwhichinterestselectsbereallypresentinthework,and
theotheristheconcreteexhibitionofthissupremecondition:theleadingthesis
mustbeshowntobeconsistentlymaintainedthroughoutthepartsofthework.
Goethe,forexample,gaveanotablemanifestationofsyntheticcriticismin
hisaccountofthecharacterofHamlet.Hisconceptionoftheessentialcharacter
ofHamlethasenabledmanyareadertoseethingsintheplaythatotherwise
wouldhave

CRITICISMANDPERCEPTION 316

escapedattention.Ithasservedasathread,orbetterasacentralizingforce.
Yethisconceptionisnottheonlywayinwhichtheelementsoftheplaymaybe
broughttoafocus.ThosewhosawEdwinBoothsportrayalofthecharactermay
wellhavecarriedawaytheideathatthekeytoHamletasahumanbeingisfound
inthelinesspokentoGuildensternafterthelatterhadfailedtoplayonareed.
Why,lookyounow,howunworthyathingyoumakeofme!Youwouldplayupon
mewouldseemtoknowmystopsyouwouldpluckouttheheartofmymystery
youwouldsoundmefrommylowestnotetothetopofmycompassandthereis
muchmusic,excellentvoice,inthislittleorganyetcannotyoumakeitspeak.S
blood,doyouthinkIameasiertobeplayeduponthanapipe?

ITiscustomarytotreatjudgmentandfallaciesinintimateconnectionwith
eachother.Thetwogreatfallaciesofestheticcriticismarereduction,and
confusionofcategories.Thereductivefallacyresultsfromoversimplification.It
existswhensomeconstituentoftheworkofartisisolatedandthenthewholeis
reducedtotermsofthissingleisolatedelement.Generalixedexamplesofthis
fallacyhavebeenconsideredinpreviouschapters:forexample,intheisolation
ofasensequality,likecolorortone,fromrelationsisolationofthepurelyformal
elementoragainwhenaworkofartisreducedtotheexclusiverepresentative
values.Thesameprincipleapplieswhentechniqueistakenapartfromits
connectionwithform.Amorespecificexampleisfoundincriticismmadefroma
historical,politicaloreconomicpointofview.Therecanbenodoubtthatthe
culturalmilieuisinsideaswellasoutsideworksofart.Itentersasagenuine

constituent,andacknowledgmentofitisoneelementinajustdiscrimination.The
sumptuousnessofVenetianaristocracyandcommercialwealthisagenuine
constituentofthepaintingofTitian.Butthefallacyofreducinghispicturesto
economicdocuInents,asIoncehearddonebyaproletarianguideinthe
HermitageinLeningrad,istooevidenttoneedmentionwere
it
notthatitisa
grosscaseofwhatoftenhappensinmodessosubtleasnottobereadily
perceptible.Ontheotherhand,thereligiousSimplicityandausterityofFrench
twelfthcenturystatuesand

316

ARTASEXPERIENCE

paintings,whichcomeintothemfromtheirculturalmilieu,isheldup,apart
fromthestrictlyplasticqualitiesoftheobjectsinquestion,astheiressential
estheticquality.
Amoreextremeformofthereductivefallacyexistswhenworksofartare
explainedorinterpretedonthebasisoffactorsthatareincidentallyinside
them.Muchofsocalledpsychoanalyticcriticismisofthisnature.Factorsthat
mayormaynothaveplayedapartinthecausativegenerationofaworkofart
aretreatedasiftheyexplainedtheestheticcontentoftheworkofartitself.Yet
thelatterisjustwhatitiswhetherafatherormotherfixation,oraspecialregard
forthesusceptibilitiesofawife,enteredintoitsproduction.Ifthefactorsspoken
ofarerealandnotspeculative,theyarerelevanttobiography,buttheyare
whollyimpertinentastothecharacteroftheworkitself.Ifthelatterhasdefects,
theyareblemishestobedetectedintheconstructionoftheobjectitself.Ifan
(Edipuscomplexispartoftheworkofart,itcanbediscoveredonitsown
account.Butpsychoanalyticcriticismisnottheonlykindthatfallsintothis
fallacy.Itflourisheswhereversomeallegedoccasioninthelifeoftheartist,some
biographicalincident,istakenasifitwereakindofsubstituteforappreciationof
thepoemthatresulted.*
Theotherchiefmodeinwhichthistypeofthereductivefallacyprevailsisin
socalledsociologicalcriticism.Hawthornes
SevenGables,ThoreausWalden,EmersonsEssays,MarkTwains
HuckleberryFinnhaveanundoubtedrelationtotherespectivemilieusinwhich
theywereproduced.Historicalandculturalinformationmaythrowlightonthe
causesoftheirproduction.Butwhenallissaidanddone,eachoneisjustwhatit

isartistically,anditsestheticmeritsanddemeritsarewithinthework.Knowledge
ofsocialconditionsofproductionis,whenitisreallyknowledge,ofgenuine
value.Butitisnosubstituteforunderstandingoftheobjectinitsownqualities
andrelations.Migraine,eyestrain,indigestionmayhaveplayedapartinthe
productionofsomeworksofliteraturetheymayevenaccount,fromacausal
pointofview,forsomeofthequalitiesoftlwliteratureproduced.Butknowledge
ofthemisanadditionto

*
MartinSchuetze,inhisAcademicIllusions,givespertinentdetailed
examplesofthiskindoffallacyandshowsthemtobethestockiatradeofentire
schoolsofestheticinterpretation.

CRITICISMANDPERCEPTION 317

medicalloreofcauseandeffect,nottojudgmentofwhatwasproduced,even
thoughtheknowledgeinducetowardstheauthoramoralcharitywemightnot
otherwiseshare.
Wearethusbroughttotheothergreatfallacyofestheticjudgmentwhich
indeedismixedwiththereductivefallacy:theconfusionofcategories.The
historian,thephysiologist,thebiographer,thepsychologist,allhavetheirown
problemsandtheirownleadingconceptionsthatcontroltheinquiriesthey
undertake.Worksofartprovidethemwithrelevantdatainthepursuitoftheir
specialinvestigations.ThehistorianofGreeklifecannotconstructhisreportof
GreeklifeexceptbytakingintoaccountthemonumentsofGreekarttheyareat
leastasrelevantandaspreciousforhispurposeasthepoliticalinstitutionsof
AthensandSparta.ThephilosophicinterpretationsoftheartsprovidedbyPlato
andAristotleareindispensabledocumentsforthehistorianoftheintellectuallife
ofAthens.Buthistoricjudgmentisnotestheticjudgment.Thereare
categories~tha~is,controllingconceptionsofinquiry~appropriatetohistory,and
onlyconfusionresultswhentheyareusedtocontrolinquiryintoartwhichalso
hasitsownideas.
Whatistrueofhistoricalapproachistrueoftheothermodesoftreatment
Therearemathematicalaspectsofsculptureandpaintingaswellasof
architecture.JayHambidgehasproducedatreatiseonthemathematicsof
Greekvases.Aningeniousworkhasbeenproducedonthemathematically
formalelementsofPoetry.ThebiographerofGoetheorMelvillewouldbederelict
ifhedidnotusetheirliteraryproductswhenheisconstructingapictureoftheir
lives.Thepersonalprocessesinvolvedinconstructionofworksofartareas

preciousdataforthestudyofcertainmentalprocessesasrecordsofprocedures
usedbyscientificinquirersaresignificantinthestudyofintellectualoperations.
Thephraseconfusionofcategorieshasanintellectual.isticsound.Its
practicalcounterpartisconfusionofvalues.*Criticsaswellastheoristsaregiven
totheattempttotranslatethedistinctivelyestheticoverintotermsofsomeother
kindofexperience.Thecommonestformofthisfallacyistoassume

*
Thereisasignificantchapterwithth~~titleinBuermeversThe&thetic
Experience

318

ARTASEXPERIENCE

thattheartistbeginswithmaterialthathasalreadyarecognizedstatus,
moral,philosophic,historicalorwhatever,andthenrendersitmorepalatableby
emotionalseasoningandimaginativedressing.Theworkofartistreatedasifit
wereare~ditingofvaluesalreadycurrentinotherfieldsofexperience.
Therecanbenodoubt,forexample,thatreligiousvalueshaveexercisedan
almostincomparableinfluenceuponart.ForalongperiodinEuropeanhistory,
HebrewandChri~tdnlegendsformedthestaplematerialofallthearts.Butthis
factofitselftellsusnothingaboutdistinctivelyestheticvalues.Byzantine,
Russian,GothicandearlyItalianpaintingsareallequallyreligious.But
estheticallyeachhasitsownqualities.Doubtlessthedifferentformsare
connectedwithdifferenceofreligiousthoughtandpractice.Butestheticallythe
influenceofthemosaicformisamorepertinentconsideration.Thequestion
involvedisthedifferencebetweenmaterialandmattersooftenreferredtoin
previousdiscussions.Themediumandeffectaretheimportantmatters.Forthis
reason,laterworksofartthathavenoreligiouscontenthaveaprofoundly
religiouseffect.IimaginethemajesticartofParadiseLostwillbemore,not
less,admitted,andthepoembemorewidelyread,whenrejectionofitsthemes
ofProtestanttheologyhaspassedintoindifferenceandforgetfulness.Andthis
opiniondoesnotimplythatformisindependentofmatter.Itimpliesthat
artistic
substanceisnotidenticalwiththemeanymorethantheformoftheAncient
Marinerisidenticalwiththestorythatisitstheme.The
misensc~ne
ofMiltons
portrayalofthedramaticactionofgreatforcesneednotbeesthetically
troublesome,anymorethanisthatoftheIliad,tothemodernreader.Thereisa
profounddistinctionbetweenthevehicleofaworkofart,theintellectualcarrier

throughwhichanartistreceiveshissubjectmatterandtransmitsittohis
immediateaudience,andboththeformandmatterofthiswork.
Thedirectinfluenceofscientificuponartisticvaluesismuchlessthanthatof
religion.Itwouldbeabravecriticwhowouldassertthattheartisticqualitiesof
eitherDantesorMiltonsworksareaffectedbyacceptanceofacosmogonythat
nolongerhasscientificstanding.Astothefuture,IthinkWordsworthspoketruly
whenhesaid:...ifthelaboursofMenofscienceshouldevercreateany
materialrevolution,directorindirect,

CRITICISMANDPERCEPTION 319

inourconditionandintheimpressionswhichwehabituallyreceive,thePoet
willsleepthennomorethanatpresent...hewillbeathisside,carrying
sensationintothemidstoftheobjectsofscienceitself.Theremotestdiscoveries
oftheChemist,theBotanist,orMineralogist,willbeasproperobjectsofthe
Poetsartasanyuponwhichitcanbeemployedifthetimeshouldevercome
whenthesethingsshallbefamiliartous,andtherelationsunderwhichtheyare
contemplatedbythefollowersoftheserespectivesciencesshallbemanifestly
andpalpablymaterialtousasenjoyingandsufferingbeings.Butpoetrywillnot
onthataccountbeapopularizationofscience,norwillitscharacteristicvalues
bethoseofscience.
Therearecriticswhoconfuseestheticvalueswithphilosophicvalues,
especiallywiththoselaiddownbyphilosophicmoralists.T.S.Eliot,forexample,
saysthatthetruestphilosophyisthebestmaterialforthegreatestpoet,and
impliesthatwhatthepoetdoesistomakephilosophiccontentmoreviableby
additionofsensuousandemotionalqualities.Justwhatthetruestphilosophyis,
isamatterofsomedispute.Butcriticsofthisschooldonotlackdefinite,notto
saydogmatic,convictionsonthispoint.Withoutanyparticularspecial
competencyinphilosophicthought,theyarereadytopronounce
excathedia
judgments,becausetheyarecommittedtosomeconceptionoftherelationof
mantotheuniversethatflourishedinsomepastepoch.Theyregardits
restorationasessentialtotheredemptionofsocietyfromitspresentevilstate.
Fundamentally,theircriticismsaremoralrecipes.Sincegreatpoetshavehad
differentphilosophies,acceptanceoftheirpointofviewentailsthatifweapprove
thephilosophyofDantewemustcondemnthepoetryofMilton,andifweaccept

thatofLucretiuswemustfindthepoetryofboththeotherswoefullydefective.
Andwhere,uponthebasisofanyofthesephilosophies,doesGoethecomein?
Andyettheseareourgreatphilosophicpoets.
Ultimatelyallconfusionofvaluesproceedsfromthesamesource:...neglectof
theintrinsicsignificanceofthemedium.Theuseofaparticularmedium,a
speciallanguagehavingitsowncharacteristicsisthesourceofeveryart,
philosophic,scientific,technologicalandesthetic.Theartsofscience,ofpolitics,
ofhistory,andofpaintingandpoetryallhavefinallythesame
ma

320

ARTASEXPERIENCE

terial
thatwhichisconstitutedbytheinteractionofthelivecreaturewithhis
surroundings.Theydifferinthemediabywhichtheyconveyandexpressthis
material,notinthematerialitself.Eachonetransformssomephaseoftheraw
materialofexperienceintonewobjectsaccordingtothepurpose,eachpurpose
demandsaparticularmediumforitsexecution.Scienceusesthemediumthatis
adaptedtothepurposeofcontrolandprediction,ofincreaseofpoweritisan
art.*Underparticularconditions,itsmattermayalsobeesthetic.Thepurposeof
estheticartbeingthe.enhancementofdirectexperienceitself,itusesthe
mediumfitfortheaccomplishmentofthatend.Thenecessaryequipmentofthe
criticis,first,tohavetheexperienceandthentoelicititsconstituentintermsof
themediumused.Failureineitheroftheserespectsresultsinevitablyin
confusionofvalues.Totreatpoetryashavingaphilosophy,evenatrue
philosophy,foritsespecialmaterialislikesupposingthatliteraturehasgrammar
foritsmaterial.
Anartistmay,ofcourse,
have
aphilosophyandthatphilosophymay
influencehisartisticwork.Becauseofthemediumofwords,whicharealready
theproductofsocialartandarealreadypregnantwithmoralmeanings,theartist
inliteratureismoreofteninfluencedbyaphilosophythanareartistswhowork
withaplasticmedium.Mr.Santayanaisapoetwhoisalsoaphilosopheranda
critic.Moreover,hehasstatedthecriterionwhichheemploysincriticism,andthe
criterionisjustthethingmostcriticsdonotstateandapparentlyarenoteven
awareof.OfShakespearehesays,...thecosmoseludeshimhedoesnot
seemtofeeltheneedofframingthatidea.Hedepictshumanlifeinallits
richnessandvariety,butleavesthatlifewithoutasettingandconsequently

withoutameaning.Sincethevariousscenesandcharacterspresentedby
Shakespearehaveeachitsownsetting,thepassageevidentlyimplieslackofa
particularsetting,namelyofatotalcosmicsetting.Thatthisabsenceiswhatis
impliedisnotleftamatterofconjectureitisdefinitelystated.Thereisno
fixed
conceptionofanyforces,naturalormoral,
dominatingandtranscending
our
mortalenergies.Thecomplaintisoflackoftotalityfullnessisnotwholeness.
*
ThispointIhaveemphasizedintheQuestforCertainty,ChapterIV.

CRITICISMANDPERCEPTION 321

Whatisrequiredfor
theoreticwholeness
isnotthisorthat
systembutsome
system.
IncontrastwithShakespeare,HomerandDantehadafaiththathad
envelopedtheworldofexperienceinaworldofimaginationinwhich
theidealsof
thereason,
ofthefancyandthehearthadanaturalexpression.(Noneofthe
italicsareintheoriginaltext.)Hisphilosophicpointofview,perhaps,isbest
summedupinasentenceoccurringinacriticismofBrowning:
Thevalueofexperienceisnotinexperiencebutintheidealswhichit
reveals.AndofBrowningitissaidthathismethodistopenetratebysympathy
ratherthantoportraybyintelligenceasentenceonemightsupposetobean
admirabledescriptionofadramaticpoetratherthantheadversecriticismitis
intendedtobe.
Therearephilosophiesandphilosophiesaswellascriticismsandcriticisms.
TherearepointsofviewfromwhichShakespearehadaphilosophy,andhada
philosophythatismorepertinenttotheworkofanartistthanonewhich
conceivestheidealofphilosophytobetheenclosureofexperiencewithinand
dominationofitsvariedfullnessbyatranscendentidealthatonlyreasonbeyond
experiencecanconceive.Thereisaphilosophywhichholdsthatnatureandlife
offerintheirplenitudemanymeaningsandarecapablethroughimaginationof
manyrenderings.Inspiteofthescopeanddignityofthegreathistoric
philosophicsystems,anartistmaybeinstinctivelyrepelledbytheconstraint
imposedbyacceptanceofanysystem.Iftheimportantthingisnotthisorthat
systembutsomesystem,whynotaccept,withShakespeare,thefreeandvaried
systemofnatureitselfasthatworksandmovesinexperienceinmanyand

diverseorganizationsofvalue?Ascomparedwiththemovementandchangeof
nature,theformthatreasonissaidtoprescribemaybethatofaparticular
traditionwhichisaprematureandonesidedsynthesisintermsofasingleand
narrowaspectofexperience.Artthatisfaithfultothemanypotentialitiesof
organizationcenteringaboutavarietyofinterestsandpurposes,thatnature
offersaswasthatofShakespearemayhavenotonlyafullnessbuta
wholenessandsanityabsentfromaphilosophyofenclosure,transcendence,
andfixity.Thequestionforthecriticistheadequacyofformtomatter,andnot
thatof

322

ARTASEXPERIENCE

thepresenceorabsenceofanyparticularform.Thevalueofexperienceis
notonlyintheidealsitreveals,butinitspowertodisclosemanyideals,apower
moregerminalandmoresignificantthananyrevealedideal,sinceitincludes
theminitsstride,shattersandremakesthem.Onemayevenreversethe
statementandsaythevalueofidealsliesintheexperiencestowhichtheylead.

THEREisoneproblemthatartist,philosopher,andcriticalikemustface:the
relationbetweenpermanenceandchange.Thebiasofphilosophyinitsmore
orthodoxphasethroughouttheageshasbeentowardtheunchanging,andthat
biashasaffectedthemoreseriouscriticsperhapsitisthisbiaswhich
generatesthejudicialcritic.Itisoverlookedthatinartandinnatureasfaras
wecanjudgeitthroughthemediumofartpermanenceisafunction,a
consequence,ofchangesintherelationstheysustaintooneanother,notan
antecedentprinciple.ThereistobefoundinBrowningsessayonShelleywhat
seemstometocomeasnearascriticismcancome,toajuststatementofthe
relationsbetweentheunifiedandtotalbetweenthevariedandmoving,the
individual,andtheuniversal,sothatIshallquoteitatlength.Ifthesubjective
mightseemtobetheultimaterequirementofeveryage,theobjectiveinits
strictestsensemuststillretainitsoriginalvalue.Foritiswiththisworld,as
startingpointandbasisalike,thatweshallalwayshavetoconcernourselvesthe
worldisnottobelearnedandthrownaside,butrevertedtoandrelearned.The
spiritualcomprehensionmaybeinfinitelysubtilizedbutitsrawmaterialmust
remain.

Thereisatimewhenthegeneraleyehas,sotospeak,absorbeditsfullof
thephenomenaaroundit,whetherspiritualormaterial,anddesiresratherto
learntheexactersignificanceofwhatitpossessesthantoreceiveany
augmentationofwhatitpossesses.Thenistheopportunityforthepoetofloftier
visiontolifthisfellows,withtheirhalfapprehensions,uptohisownsphere,by
intensifyingtheimportofdetailsandroundingouttheuniversalmeaning.The
influenceofsuchanachievementwillnotsoondieout.Atribeofsuccessors
(Homerides)workingmoreorlessinthesamespiritdwellonhisdiscoveriesand
re

CRITICISMANDPERCEPTION 323

enforcehisdoctrinetill,atunawares,theworldisfoundtobesubsisting
whollyontheshadowofareality,onsentimentsdilutedfrompassions,onthe
traditionofafact,theconventionofamoral,thestrawoflastyearsharvest.
Thenistheimperativecallfortheappearanceofanothersortofpoet,whoshall
atoncereplacethisintellectualruminationoffoodswallowedlongagobya
supplyoffreshandlivingswathegettingatnewsubstancebybreakingupthe
assumedwholesintopartsofindependentandundassedvalue,carelessofthe
unknownlawsforrecombiningthem(itwillbethebusinessofyetanotherpoetto
suggestthesehereafter),prodigalofobjectsformensouterandnotinnersight,
shapingfortheirusesanewanddifferentcreationfromthelast,whichit
displacesbytherightoflifeoverdeathtoenduretill,intheinevitableprocess,
itsverysufficiencytoitselfshallrequire,atlength,anexpositionofitsaffinityto
somethinghigherwhenthepositiveyetconflictingfactsshallagainprecipitate
themselvesunderaharmonizinglaw....
Allthebadpoetryintheworld(accountedpoetry,thatisbyitsaffinities)will
befoundtoresultfromsomeoneoftheinfinitedegreesofdiscrepancies
betweentheattributesofthepoetssoul,occasioningawantofcorrespondency
betweenhisworkandthevarietiesofnatureissuinginpoetry,falseunder
whateverform,whichshowsathingnotasitistomankindgenerally,norasitis
totheparticulardescriber,butasitisSupposedtobeforsomeunrealneutral
mood,midwaybetweenbothandofvaluetoneither,andlivingitsbriefminute
simplythroughtheindolenceofwhoeveracceptsitinhisinabilitytodenouncea
cheat.

Natureandlifemanifestnotfluxbutcontinuity,andcontinuityinvolvesforces
andstructuresthatendurethroughchangeatleastwhentheychange,theydoso
~noreslowlythandosurfaceincidents,andthusare,relatively,constant.But
changeisinevitableeventhoughitbenotforthebetter.Itmustbereckoned
with.Moreover,changesarenotallgradualtheyculminateinsuddenmutations,
intransformationsthatatthetimeseemrevoliltionary,althoughinalater
perspectivetheytaketheirplaceinalogicaldevelopmentAllofthesethingshold
ofart.Thecritic,whoisnotassensitivetosignsofchangeastotherecurrent
andenduring,usesthecriterionoftraditionwithoutunderstand

324

ARTASEXPERIENCE

ingitsnatureandappealstothepastforpatternsandmodelswithoutbeing
awarethateverypastwasoncetheimminentfutureofitspastandisnowthe
past,notabsolutely,butofthechangewhichconstitutesthepresent.
Everycritic,likeeveryartist,hasabias,apredilection,thatisboundupwith
theveryexistenceofindividuality.Itishistasktoconvertitintoanorganof
sensitiveperceptionandofintelligentinsight,andtodosowithoutsurrendering
theinstinctivepreferencefromwhicharederiveddirectionandsincerity.But
whenhisespecialandselectivemodeofresponseisallowedtohardeninafixed
mold,hebecomesincapacitatedforjudgingeventhethingstowhichhisbias
drawshim.Fortheymustbeseenintheperspectiveofaworldsomultiformand
sofullthatitcontainsaninfinitevarietyofotherqualitiesthatattractandofother
waysofresponse.Eventhebewilderingaspectsoftheworldinwhichweliveare
materialforartwhentheyfindtheformthroughwhichtheyareactually
expressed.Aphilosophyofexperiencethatiskeenlysensitivetothe
unnumberedinteractionsthatarethematerialofexperienceisthephilosophy
fromwhichacriticmaymostsafelyandsurelydrawhisinspiration.How
otherwisecanacriticbeanimatedbythatsensitivenesstothevariedmovements
towardcompletionindifferenttotalexperiencesthatwillenablehimtodirectthe
perceptionsofotherstoafullerandmoreorderedappreciationoftheobjective
contentofworksofart?
Forcriticaljudgmentnotonlygrowsoutofthecriticsexperienceofobjective
matter,andnotonlydependsuponthatforvalidity,buthasforitsofficethe
deepeningofjustsuchexperienceinothers.Scientificjudgmentsnotonlyendin
increasedcontrolbutforthosewhounderstandtheyaddenlargedmeaningsto

thethingsperceivedanddealtwithindailycontactwiththeworld.Thefunctionof
criticismisthere~ducationofperceptionofworksofartitisanauxiliaryinthe
process,adifficultprocess,oflearningtoseeandhear.Theconceptionthatits
businessistoappraise,tojudgeinthelegalandmoralsense,arreststhe
perceptionofthosewhoareinfluencedbythecriticismthatassumesthistask.
Themoralofficeofcriticismisperformedindirectly.Iheindividualwhohasan
enlargedandquickenedexperienceisonewhoshouldmakeforhimselfhisown
appraisal.

CRITICISMANDPERCEPTION 325

Thewaytohelphimisthroughtheexpansionofhisownexperiencebythe
workofarttowhichcriticismissubsidiary.Themoralfunctionofartitselfisto
removeprejudice,doawaywiththescalesthatkeeptheeyefromseeing,tear
awaytheveilsduetowontandcustom,perfectthepowertoperceive.Thecritics
officeistofurtherthiswork,performedbytheobjectofart.Obtrusionofhisown
approvalsandcondemnations,appraisalsandratings,issignoffailureto
apprehendandperformthefunctionofbecomingafactorinthedevelopmentof
sincerepersonalexperience.Welayholdofthefullimportofaworkofartonly
aswegothroughinourownvitalprocessestheprocessestheartistwent
throughinproducingthework.Itisthecriticsprivilegetoshareinthepromotion
ofthisactiveprocess.Hiscondemnationisthathesooftenarrestsit.

CHAPTERXIV
ARTANDCIVILIZATION

ARTisaqualitythatpermeatesanexperienceitisnot,savebyafig~xreof
speech,theexperienceitself.Estheticexperienceisalwaysmorethanesthetic.
Initabodyofmattersandmeanings,notinthemselvesesthetic,
become
estheticastheyenterintoanorderedrhythmicmovementtowardconsummation.
Thematerialitselfiswidelyhuman.Sowereturntothethemeofthefirstchapter.
Thematerialofestheticexperienceinbeinghumanhumaninconnectionwith
thenatureofwhichitisapartissocial.Estheticexperienceisamanifestation,
arecordandcelebrationofthelifeofacivilization,ameansofpromotingits
development,andisalsotheultimatejudgmentuponthequalityofacivilization.
Forwhileitisproducedandisenjoyedbyindividuals,thoseindividualsarewhat
theyareinthecontentoftheirexperiencebecauseoftheculturesinwhichthey
participate.
TheMagnaCartaisheldupasthegreatpoliticalstabilizerofAngloSaxon
civilization~Evenso,ithasoperatedinthemeaninggivenitinimaginationrather
thanbyitsliteralcontents.Therearetransientandthereareenduringelements
inacivilization.Theenduringforcesarenotseparatetheyarefunctionsofa
multitudeofpassingincidentsasthelatterareorganizedintothemeaningsthat
formminds.Artisthegreatforceineffectingthisconsolidation.Theindividuals
whohavemindspassawayonebyone.Theworksinwhichmeaningshave
receivedobjectiveexpressionendure.Theybecomepartoftheenvironment,and
interactionwiththisphaseoftheenvironmentistheaxisofcontinuityinthelifeof
civilization.Theordinancesofreligionandthepoweroflawareefficaciousas
theyareclothedwithapomp,adignityandmajestythataretheworkof

imagination.Ifsocialcustomsaremorethanuniformexternalmodesofaction,it
isbecausetheyaresaturatedwithstoryandtransmittedmeaning.Everyartin
somemannerisamediumofthistransmissionwhile
326

ARTANDCIVILIZATION 327

itsproductsarenoinconsiderablepartofthesaturatingmatterTheglorythat
wasGreeceandthegrandeurthatwas
Romeformostofus,probablyforallbutthehistoricalstudent,sumupthose
civilizationsgloryandgrandeurareesthetic.Forallbuttheantiquarian,ancient
Egyptisitsmonuments,templesandliterature.Continuityofcultureinpassage
fromonecivilizadontoanotheraswellaswithintheculture,isconditionedbyart
morethanbyanyotheronething.Troylivesforusonlyinpoetryandinthe
objectsofartthathavebeenrecoveredfromitsruins.Minoancivilizationistoday
itsproductsofart.Pagangodsandpaganritesarepastandgoneandyet
endureintheincense,lights,robes,andholidaysofthepresent.Iflettersdevised
forthepurpose,presumably,offacilitatingcommercialtransactions,hadnot
developedintoliterature,theywouldstillbetechnicalequipments,andwe
ourselvesmightliveamidhardlyahigherculturethanthatofoursavage
ancestors.Apartfromriteandceremony,frompantomimeanddanceandthe
dramathatdevelopedfromthem,fromdance,songandaccompanying
instrumentalmusic,fromtheutensilsandarticlesofdailylivingthatwereformed
onpatternsandstampedwithinsigniaofcommunitylifethatwereakintothose
manifestedintheotherarts,theincidentsofthefarpastwouldnowbesunkin
oblivion.
Itisoutofthequestiontodomorethansuggestinbareoutlinethefunctionof
theartsinoldercivilizations.Buttheartsbywhichprimitivefolkcommemorated
andtransmittedtheircustomsandinstitutions,artsthatwerecommunal,arethe
sourcesoutofwhichallfineartshavedeveloped.Thepatternsthatwere
characteristicofweapons,rugsandblankets,basketsandjar~weremarksof

tribalunion.Todaytheanthropologistreliesuponthepatterncarvedonaclub,or
paintedonabowltodetermineitsorigin.Riteandceremonyaswellaslegend
boundthelivingandthedeadinacommonpartnership.Theywereesthetichut
theyweremorethanesthetic.Theritesofmourningexpressedmorethangrief
thewarandharvestdanceweremorethanagatheringofenergyfortaskstobe
performedmagicwasmorethanawayofcommandingforcesofnaturetodo
thebiddingofmanfeastsweremorethanasatisfactionofhunger.Eachofthese
communalmodesofactivityunitedthepractical,thesocial,andtheeducativein
anintegratedwholehavingestheticform.

328

ARTASEXPERIENCE

Theyintroducedsocialvaluesintoexperienceinthewaythatwasmost
impressive.Theycoanectedthingsthatwereovertlyimportantandovertlydone
withthesubstantiallifeofthecommunity.Artwasinthem,fortheseactivities
conformedtotheneedsandconditionsofthemostintense,mostreadilygrasped
andlongestrememberedexperience.Buttheyweremorethanjustart,although
theestheticstrandwasubiquitous.
InAthens,whichweregardasthehomeparexcellenceofepicandlyric
poetry,oftheartsofdrama,architectureandsculpture,theideaofartforarts
sakewouldnot,asIhavealreadyremarked,havebeenunderstood.Platos
harshnesstowardHomerandHesiodseemsstrained.Buttheywerethemoral
teachersofthepeople.Hisattacksuponthepoetsarelikethosewhichsome
criticsofthepresentdaybringagainstportionsofChristianscripturesbecauseof
evilmoralinfluenceattributedtothem.Platosdemandofcensorshipofpoetry
andmusicisatributetothesocialandevenpoliticalinfluenceexercisedbythose
arts.Dramawasenactedonholydaysattendancewasofthenatureofanactof
civicworship.Architectureinallitssignificantformswaspublic,notdomestic,
muchlessdevotedtoindustry,banking,orcommerce.
ThedecayofartintheAlezandrianperiod,itsdegeneracyintopoorimitations
ofarchaicmodels,isasignofthegenerallossofcivicconsciousnessthat
accompaniedtheeclipseofcitystatesandtheriseofaconglomerate
imperialism.Theoriesaboutartandthecultivationofgrammarandrhetorictook
theplaceofcreation.Andtheoriesaboutartgaveevidenceofthegreatsocial
changethathadtakenplace.Insteadofconnectingartswithanexpressionofthe
lifeofthecommunity,thebeantyofnatureandofartwasregardedasanecho

andreminderofsomesupernalrealitythathaditsbeingoutsidesociallife,and
indeedoutsidethecosmositselftheultimatesourceofallsublequenttheories
thattreatartassomethingimportedintoexperiencefromwithout.
AstheChurchdeveloped,theartswereagainbroughtintoconnectionwith
humanlifeandbecameabondofunionamongmen.Throughitsservicesand
sacraments,theChurchrevivedandadaptedinimpressiveformwhatwasmost
movingInallpriorritesandceremonies.

ARTANDCIVILIZATION

TheChurch,evenmorethantheRomanEmpire,servedasthefocusofunity
amidthedisintegrationthatfollowedthefallofRome.Thehistorianofintellectual
lifewillemphasizethedogmasoftheChurchthehistorianofpoliticalinstitutions,
thedevelopmentoflawandaisthoritybymeansoftheecclesiasticinstitution.But
theinfluencethatcountedinthedailylifeofthemassofthepeopleandthatgave
themasenseofunitywasconstituted,Itissafetosurmise,bysacraments,by
songandpictures,byriteandceremony,allhavinganestheticstrand,morethan
byanyotheronething.Sculpture,painting,music,letterswerefoundi~the
placewhereworshipwasperformed.Theseobjectsandactsweremuchmore
thanworksofarttotheworshiperswhogatheredInthetemple.Theywereinall
probabilitymuchlessworksofarttothemthantheyaretodaytobelieversand
unbelievers.Butbecauseoftheestheticstrand,religiousteachingswerethe
morereadilyconveyedandtheireffectwasthemorelasting.Bytheartinthem,
theywerechangedfromdoctrinesintolivingexperiences.
ThattheChurchwasfullyconsciousofthisextraestheticeffectofartis
evidentinthecareittooktoregulatethearts.Thusin787
A.D.,
theSecond
CouncilofNiceaofficiallyordainedthefollowing:
Thesubstanceofreligiousscenesisnotlefttotheinitiativeofartistsit
derivesfromtheprincipleslaiddownbytheCatholicChurchandreligious
tradition....Theartalonebelongstothepainteritsorganizationand
arrangementbelongstotheclergy.
*
ThecensorshipdesiredbyPlatoheldfull
sway.
ThereisastatementofMachiavellithathasalwaysseemedtomesymbolic
ofthespiritoftheRenascence.Hesaidthatwhenhewasthroughwiththe

businessoftheday,heretiredintohisstudyandlosthimselfinabsorptionofthe
classic

*
QuotedfromLippmannsAPrefacetoMorals,p.98.Thetextofthe
chapterfromwhichthepassageiscitedgivesexamplesofthespecificrulesby
whichthepaintersworkwasregulated.Thedistinctionbetweenartand
substanceissimilartothatdrawnbysomeadherentsofaproletarian
dictatorshipofartbetweentechniqueorcraftthatbelongstotheartistand
subjectmatterdictatedbytheneedsofthepartylineinfurtheringthecause.A
doublestandardissetup.Thereisliteraturethatisgoodorbadasmere
literatureandliteraturethatisgoodorhadaccordingtoitsbearingupon
economicandpoliticalrevolution.

330

ARTASEXPERIENCE

literatureofantiquity.Thisstatementisdoublysymbolic.Ontheonehand,
ancientculturewouldnotbelived.Itcouldonlybestudied.AsSantayanahas
wellsaid,Greekcivilizationisnowanidealtobeadmired,notonetoberealized.
Ontheotherhand,knowledgeofGreekart,especiallyofarchitectureand
sculpture,revolutionizedthepracticeofthearts,includingpainting.Thesenseof
naturalisticshapesofobjectsandoftheirsettinginthenaturallandscapewas
recoveredintheRomanschoolpaintingwasalmostanattempttoproducethe
feelingsoccasionedbysculpture,whiletheFlorentineschooldevelopedthe
peculiarvaluesinherentinline.Thechangeaffectedbothestheticformand
substance.Thelackofperspective,theflatandprofilequalityofChurchart,its
useofgold,andamultitudeofothertraitswerenotduetomerelackoftechnical
skill.Theywereorganicallyconnectedwiththeparticularinteractionsinhuman
experiencethatweredesiredastheconsequenceofart.Thesecular
experiencesthatwereemergingatthetimeoftheRenascenceandthatfedupon
antiquecultureinvolvedofnecessitytheproductionofeffectsdemandingnew
forminart.TheextensionofsubstancefromBiblicalsubjectsandthelivesof
saintstoportrayalofscenesofGreekmythologyandthentospectaclesof
contemporarylifethatweresociallyimpressiveinevitablyensued.*

THESEremarksareintendedmerelytobeabareillustrationofthefactthat
everyculturehasitsowncollectiveindividuality.Liketheindividualityofthe
personfromwhomaworkofartissues,thiscollectiveindividualityleavesits
indelibleimprintupontheartthatisproduced.Suchphrasesastheartofthe

SouthSeaislands,oftheNorthAmericanIndian,oftheNegro,Chinese,Cretan,
Egyptian,Greek,Hellenistic,Byzantine,Moslem,Gothic,Renascence,arthavea
veridicalsignificance.Theundeniablefactofthecollectiveculturaloriginand
importofworksillustratesthefact,previouslymentioned,thatartisastrainin
experienceratherthananentityinitself.Aproblemhasbeenmadeoutofthe
fact,however,byarecentschoolofthought.Itiscontendedthatsincewecannot
actuallyreproducetheel
*~a,.Jep
141.

ARTANDCIVILIZATION 331

perienceofapeopleremoteintimeandforeigninculture,wecannothavea
genuineappreciationoftheartitproduced.EvenofGreekartitisassertedthat
theHellenicattitudetowardlifeandtheworldwassodifferentfromoursthatthe
artisticproductofGreekculturemustestheticallybeasealedbooktous.
Inpartananswertothiscontentionhasalreadybeengiven.Itisdoubtiess
truethatthetotalexperienceoftheGreeksinpresenceof,say,Greek
architecture,statuary,andpaintingisfarfrombeingidenticalwithours.Features
oftheircultureweretransienttheydonotnowexist,andthesefeatureswere
embodiedintheirexperienceoftheirworksofart.Butexperienceisamatterof
theinteractionoftheartisticproductwiththeself.Itisnotthereforetwicealikefor
differentpersonseventoday.Itchangeswiththesamepersonatdifferenttimes
ashebringssomethingdifferenttoawork.Butthereisnoreasonwhy,inorder
tobeesthetic,theseexperiencesshouldbeidentical.Sofarasineachcase
thereisanorderedmovementofthematteroftheexperiencetoafulfillment,
thereisadominantestheticquality.
Aufond,
theestheticqualityisthesamefor
Greek,ChineseandAmerican.
Thisanswerdoesnot,however,coverthewholeground.Foritdoesnotapply
tothetotalhumaneffectoftheartofaculture.Thequestion,whilewrongly
framedwithrespecttothedistinctivelyesthetic,suggeststhequestionofwhat
theartofanotherpeoplemaymeanforourtotalexperience.Thecontentionof
Tameandhisschoolthatwemustunderstandartintermsofrace,milieuand
timetouchesthequestion,buthardlymorethantouchesit.Forsuch
understandingmaybepurelyintellectual,andsoonthelevelofthegeographical,
anthropologicalandhistoricalinformationwithwhichitisaccompanied.Itleaves

openthequestionofthesignificanceofforeignartfortheexpersence
characteristicofpresentcivilization.
ThenatureoftheproblemissuggestedbyMr.Hulmestheoryofthebasic
differencebetweenByzantineandMoslemartononesideandGreekand
Renascenceartontheother.The.latter,hesays,isvitalandnaturalistic.The
formerisgeometric.Thisdifferencehegoesontoexplainisnotconnectedwith
differencesintechnicalcapacity.Thegulfismadebyafundamental

332

ARTASEXPERIENCE

differenceofattitude,ofdesireandpurpose.Wearenowhabituatedtoone
modeofsatisfactionandwetakeourownattitudeofdesireandpurposetobeso
inherentinallhumannatureastogivethemeasureofallworksofart,as
constitutingthedemandwhichallworksofartmeetandshouldsatisfy.
We
have
desiresthatarerootedinlongingforanincreaseofexperiencedvitalitythrough
delightfulintercoursewiththeformsandmovementsofnature.Byzantineart,
andsomeotherformsofOrientalart,springfromanexperiencethathasno
delightinnatureandnostrivingaftervitality.Theyexpressafeelingof
separationinthefaceofoutsidenature.Thisattitudecharacterizesobjectsas
unlikeastheEgyptianpyramidandtheByzantinemosaic.Thedifference
betweensuchartandthatwhichischaracteristicoftheWesternworldisnotto
beexplainedbyinterestinabstractions.Itmanifeststheideaofseparation,of
disharmony,ofmanandnature.*
Mr.Hulmesumsupbysayingthatartcannotbeunderstoodbyitself,but
mustbetakenasoneelementinageneralprocessofadjustmentbetweenman
andtheoutsideworld.IrrespectiveofthetruthofMr.Hulmesexplanationofthe
characteristicdifferencebetweenmuchofOrientalandOccidentalart(ithardly
appliesinanycasetoChineseart),hiswayofstatingthematterputs,tomy
mind,thegeneralprobleminitspropercontextandsuggeststhesolution.Just
becauseart,speakingfromthestandpointoftheinfluenceofcollectiveculture
uponcreationandenjoymentofworksofart,isexpressiveofadeepseated
attitudeofadjustment,ofanunderlyingideaandidealofgenerichumanattitude,
theartcharacteristicofacivilizationisthemeansforenteringsympathetically
intothedeepestelementsintheexperienceofremoteandforeigncivilizations.

Bythisfactisexplainedalsothehumanimportoftheirartsforourselves.They
effectabroadeninganddeepeningofourownexperience,renderingitlesslocal
andprovincialasfaraswegrasp,bytheirmeans,theattitudesbasicinother
formsofexperience.Unlesswearriveattheattitudesexpressedintheartof
anothercivilization,itsproductsareeitherofconcerntotheesthetealone,or
elsetheydonotimpressusesthetically.Chineseartthenseemsqueer,
becauseofitsunwontedschemes
*T.E.Hulme,Speculations,pp.8387,
j~aSS51fl.

ARTANDCIVILIZATION 333

ofperspectiveByzantineart,stiffandawkwardNegrosit,grotesque.
InthereferencetoByzantineart,Iputthetermnatureinquotationmarks.I
didsobecausethewordnaturehasaspecialmeaninginestheticliterature,
indicatedespeciallybytheuseoftheadjectivenaturalistic.Butnaturealso
hasameaninginwhichitincludesthewholeschemeofthingsinwhichithas
theforceoftheimaginativeandemotionalworduniverse.Inexperience,human
relations,institutions,andtraditionsareasmuchapartofthenatureinwhichand
bywhichweliveasisthephysicalworld.Natureinthismeaningisnotoutside.
Itisinusandweareinandofit.Buttherearemultitudesofwaysofparticipating
init,andthesewaysarecharacteristicnotonlyofvariousexperiencesofthe
sameindividual,butofattitudesofaspiration,needandachievementthatbelong
tocivilizationsintheircollectiveaspect.Worksofartaremeansbywhichwe
enter,throughimaginationandtheemotionstheyevoke,intootherformsof
relationshipandparticipationthanourown.
Theartofthelatenineteenthcenturywascharacterizedbynaturalisminits
restrictedsense.Theproductionsmostcharacteristicoftheearlytwentieth
centuryweremarkedbytheinfluenceofEgyptian,Byzantine,Persian,Chinese,
Japanese,andNegroart.Thisinfluenceismarkedinpainting,sculpture,music,
andliterature.Theeffectofprimitiveandearlymedievalartisapartofthe
samegeneralmovement.Theeighteenthcenturyidealizedthenoblesavageand
thecivilizationofremotepeoples.ButasidefromChinoiseriesandsomephases
ofromanticliterature,the
sense
ofwhatisbackoftheartsofforeignpeopledid
notaffecttheactualartproduced.Seeninperspective,thesocalled
preRaphaeliteartofEngiandisthemosttypicallyVictorianofallt~iepaintingof

theperiod.Butinrecentdecades,beginninginthenineties,theinfluenceofthe
artsofdistantcultureshasenteredintrinsicallyintoartisticcreation.
Formanypersons,theeffectisdoubtlesssuperficial,merelyprovidingatype
ofobjectsenjoyableinpartbecauseoftheirindividualnovelty,andinpart
becauseofanaddeddecorativequality.Buttheideathatwouldaccountforthe
productionofcontempor~worksbymeredesirefortheunusual,oreccentricor
evencharmismoresuperficialthanthiskindof

334

ARTASEXPERIENCE

enjoyment.Themovingforceisgenuineparticipation,insomedegreeand
phase,inthetypeofexperienceofwhichprimitive,Oriental,andearlymedieval
objectsofartaretheexpression.Wheretheworksaremerelyimitativeofforeign
works,theyaretransientandtrivial.Butattheirbesttheybringaboutanorganic
blendingofattitudescharacteristicoftheexperienceofourownagewiththatof
remotepeoples.Forthenewfeaturesarenotmeredecorativeadditionsbutenter
intothe
structure
ofworksofartandthusoccasionawiderandfullerexperience.
Theirenduringeffectuponthosewhoperceiveandenjoywillbeanexpansionof
their
sympathies,imagination,andsense.
Thisnewmovementinartillustratestheeffectofallgenuineacquaintance
withartcreatedbyotherpeoples.Weunderstanditinthedegreeinwhichwe
makeitapartofourownattitudes,notjustbycollectiveinformationconcerning
theconditionsunderwhichitwasproduced.Weaccomplishthisresultwhen,to
borrowatermfromBergson,weinstallourselvesinmodesofapprehending
naturethatatfirstarestrangetous.Tosomedegreewebecomeartists
ourselvesasweundertakethisintegration,and,bybringingittopass,ourown
experienceisreoriented.Barriersaredissolved,limitingprejudicesmeltaway,
whenweenterintothespiritofNegroorPolynesianart.Thisinsensiblemelting
isfarmoreefficaciousthanthechangeeffectedbyreasoning,becauseitenters
directlyintoattitude.
Thepossibilityoftheoccurrenceofgenuinecommunicationisabroad
problemofwhichtheonejustdealtwithisonespecies.Itisafactthatittakes
place,butthenatureofcommunityofexperienceisoneofthemostserious
problemsofphilosophysoseriousthatsomethinkersdenythefact.The

existenceofcommunicationissodisparatetoourphysicalseparationfromone
anotherandtotheinnermentallivesofindividualsthatitisnotsurprisingthat
supernaturalforcehasbeenascribedtolanguageandthatcommunionhasbeen
givensacramentalvalue.
Moreover,eventsthatarefamiliarandcustomaryarethoseweareleastlikely
toreflectuponwetakethemforgranted.Theyarealso,becauseoftheir
closenesstous,throughgestureandpantomime,themostdifficulttoobserve.
Communicationthroughspeech,oralandwritten,isthefamiliarandconstant
featureofsociallife.Wetend,accordingly,toregard

ARTANDCIVILIZATION 335

itasjustonephenomenonamongothersofwhatwemustinanycaseaccept
withoutquestion.Wepassoverthefactthatitisthefoundationandsourceofall
activitiesandrelationsthataredistinctiveofinternalunionofhumanbeingswith
oneanother.Avastnumberofourcontactswithoneanotherareexternaland
mechanical.Thereisafieldinwhichtheytakeplace,afielddefinedand
perpetuatedbylegalandpoliticalinstitutions.Buttheconsciousnessofthisfield
doesnotenterourconjointactionasitsintegralandcontrollingforce.Relations
ofnationstooneanother,relationsofinvestorsandlaborers,ofproducersand
consumers,areinteractionsthatareonlytoaslightdegreeformsof
communicativeintercourse.Thereareinteractionsbetweenthepartiesinvolved,
buttheyaresoexternalandpartialthatweundergotheirconsequenceswithout
integratingthemintoanexperience.
Wehearspeech,butitisalmostasifwewerelisteningtoababeloftongues.
Meaningandvaluedonotcomehometous.Thereisinsuchcasesno
communicationandnoneoftheresultofcommunityofexperiencethatissues
onlywhenlanguageinitsfullimportbreaksdownphysicalisolationandexternal
contact.Artisamoreuniversalmodeoflanguagethanisthespeechthatexists
inamultitudeofmutuallyunintelligibleforms.Thelanguageofarthastobe
acquired.Butthelanguageofartisnotaffectedbytheaccidentsofhistorythat
markoffdifferentmodesofhumanspeech.Thepowerofmusicinparticularto
mergedifferentindividualitiesinacommonsurrender,loyaltyandinspiration,a
powerutilizedinreligionandinwarfarealike,testifiestotherelativeuniversality
ofthelanguageofart.ThedifferencesbetweenEnglish,FrenchandGerman
speechcreatebarriersthataresubmergedwhenartspeaks.

Philosophicallyspeaking,theproblemwithwhichweareconfrontedisthe
relationofthediscreteandthecontinuous.Bothofthemarestubbornfactsand
yettheyhavetomeetandblendinanyhumanassociationthatrisesabovethe
levelofbruteintercourse.Inordertojustifycontinuity,historianshaveoften
resortedtoafalselynamedgeneticmethod,whereinthere
is
nogenuine
genesis,becauseeverythingisresolvedintowhatwentbefore.ButEgyptian
civilizationandartwerenotJustaPreparationforGreek,norwereGreekthought
andartmes

336

ARTASEXPERIENCE

re&litedversionsofthecivilizationsfromwhichtheysofreelyborrowed.Each
culturehasitsownindividualityandhasapatternthatbindsitspartstogether.
Nevertheless,whentheartofanothercultureentersintoattitudesthat
determineourexperiencegenuinecontinuityiseffected.Ourownexperience
doesnottherebyloseitsindividualitybutittakesuntoitselfandwedselements
thatexpanditssignificance.Acommunityandcontinuitythatdonotexist
physicallyarecreated.Theattempttoestablishcontinuitybymethodswhich
resolveonesetofeventsandoneofinstitutionsintothosewhichprecededitin
timeisdoomedtodefeat.Onlyanexpansionofexperiencethatabsorbsinto
itselfthevaluesexperiencedbecauseoflifeattitudes,otherthanthoseresulting
fromourownhumanenvironment,dissolvestheeffectofdiscontinuity.
Theprobleminquestionisnotunlikethatwedailyundergointheeffortto
understandanotherpersonwithwhomwehabituallyassociate.Allfriendshipisa
solutionoftheproblem.Friendshipandintimateaffectionarenottheresultof
informationaboutanotherpersoneventhoughknowledgemayfurthertheir
formation.Butitdoessoonlyasitbecomesanintegralpartofsympathythrough
theimagination.Itiswhenthedesiresandaims,theinterestsandmodesof
responseofanotherbecomeanexpansionofourownbeingthatweunderstand
him.Welearntoseewithhiseyes,hearwithhisears,andtheirresuitsgivetrue
instruction,fortheyarebuiltintoourownstructure.Ifindthateventhedictionary
avoidsdefiningthetermcivilization.Itdefinescivilizationasthestateofbeing
civilizedandcivilizedandbeinginastateofcivilization.However,theverbto
civilizeisdefinedastoinstructintheartsoflifeandthustoraiseinthescaleof
civilization.Instructionintheartsoflifeissomethingotherthanconveying

informationaboutthem.Itisamatterofcommunicationandparticipationin
valuesoflifebymeansoftheimagination,andworksofartarethemostintimate
andenergeticmeansofaidingindividualstoshareintheartsofliving.Civilization
isuncivilbecauSehumanbeingsaredividedintonon~communicatingsects,
races,nations,classesandcliques.

ARTANDCIVILIZATION 337

THEbriefsketchofsomehistoricalphasesoftheconnectionofartwith
communitylifesetforthearlierinthischaptersuggestscontrastwithpresent
conditions.Itishardlyenoughtosaythattheabsenceofobviousorganic
connectionoftheartswithotherformsofcultureisexplainedbythecomplexity
ofmodernlife,byitsmanyspecializations,andbythesimultaneousexistenceof
manydiversecentersofcultureindifferentnationsthatexchangetheirproducts
butthatdonotformpartsofaninclusivesocialwhole.Thesethingsarereal
enough,andtheireffectuponthestatusofartinrelationtocivilizationmaybe
readilydiscovered.Butthesignificantfactiswidespreaddisruption.
Weinheritmuchfromtheculturesofthepast.TheinfluenceofGreekscience
andphilosophy,ofRomanlaw,ofreligionhavingaJewishsource,uponour
presentinstitutions,beliefsandwaysofthinkingandfeelingistoofamiliarto
needmorethanmention.Intotheoperationofthesefactorstwoforceshave
beeninjectedthataredistinctlylateinoriginandthatconstitutethemodernin
thepresentepoch.Thesetwoforcesarenaturalscienceanditsapplicationin
industryandcommercethroughmachineryandtheuseofnonhumanmodesof
energy.Inconsequence,thequestionoftheplaceandr6leofartin
contemporarycivilizationdemandsnoticeofitsrelationstosciencea~dtothe
socialconsequencesofmachineindustry.Theisolationofartthatnowexistsis
nottobeviewedasanisolatedphenomenon.Itisonemanifestationofthe
incoherenceofourcivilizationproducedbynewforces,sonewthattheattitudes
belongingtothemandtheconsequencesissuingfromthemhavenotbeen
incorporatedanddigestedintointegralelementsofexperience.

Sciencehasbroughtwithitaradicallynovelconceptionofphysicalnature
andofourrelationtoit.Thisnewconceptionstandsasyetsidebysidewiththe
conceptionoftheworldandmanthatisaheritagefromthepast,especiallyfrom
thatChristiantraditionthroughwhichthetypicallyEuropeansocialimagination
hasbeenformed.Thethingsofthephysicalworldandthoseofthemoralrealm
havefallenapart,whiletheGreektraditionandthatofthemedievalageheld
theminintimateunionalthoughaunionaccomplishedbydifferentmeansin
thetwo

338

ARTASEXPERIENCE

periods.Theoppositionthatnowexistsbetweenthespiritualandideal
elementsofourhistoricheritageandthestructureofphysicalnaturethatis
disclosedbyscience,istheultimatesourceofthedualismsformulatedby
philosophysinceDescartesandLocke.Theseformulationsinturnreflecta
conflictthatiseverywhereactiveinmoderncivilization.Fromonepointofview
theproblemofrecoveringanorganicplaceforartincivilizationislikethe
problemofreorganizingourheritagefromthepastandtheinsightsofpresent
knowledgeintoacoherentandintegratedimaginativeunion.
Theproblemissoacuteandsowidelyinfluentialthatanysolutionthatcanbe
proposedisananticipationthatcanatbestberealizedonlybythecourseof
events.Scientificmethodasnowpracticedistoonewtobenaturalizedin
experience.Itwilibealongtimebeforeitsosinksintothesubsoilofmindastobecome
anintegralpartofcorporatebeliefandattitude.Tillthathappens,bothmethod
andconclusionswillremainthepoesessionofspecializedexperts,andwill
exercisetheirgeneralinfiuenceonlybywayofexternalandmoreorless
disintegratingimpactuponbeliefs,andbyequallyexternalpracticalapplication.
Butevennowitispossibletoexaggeratetheharmfuleffectexercisedbyscience
uponimagination.Itistruethatphysicalsciencestripsitsobjectsofthequalities
thatgivetheobjectsandscenesofordinaryexperiencealltheirpoignancyand
preciousness,leavingtheworld,asfarasscientificrenderingofitisconcerned,
withoutthetraitsthathavealwaysconstituteditsimmediatevalue.Buttheworld
ofimmediateexperienceinwhichartoperates,remainsjustwhatitwas.Norcan
thefactthatphysicalsciencepresentsuswithobjectsthatarewhollyindifferent
tohumandesireandaspirationbeusedtoindicatethatthedeathofpoetryis

imminent.Menhavealwaysbeenawarethatthereismuchinthesceneinwhich
theirlivesaresetthatishostiletohumanpurpose.Atnotimewouldthemasses
ofthedisinheritedhavebeensurprisedatthedeclarationthattheworldabout
themisindifferenttotheirhopes.
Thefactthatsciencetendstoshowthatmanisapartofnaturehasaneffect
thatisfavorableratherthanunfavorabletoartwhenitsintrinsicsignificanceis
realizedandwhenitsmean

ARTANDCIVILIZATION 339

ingisnolongerinterpretedbycontrastwithbeliefsthatcometousfromthe
past.Fortheclosermanisbroughttothephysicalworld,thecleareritbecomes
thathisimpulsionsandideasareenactedbynaturewithinhim.Humanityinits
vitaloperationshasalwaysacteduponthisprinciple.Sciencegivesthisaction
intellectualsupport.Thesenseofrelationbetweennatureandmaninsomeform
hasalwaysbeentheactuatingspiritofart.
Moreover,resistanceandconflicthavealwaysbeenfactorsingeneratingart
andtheyare,aswehaveseen,anecessarypartofartisticform.Neitheraworld
whollyobdurateandsulleninthefaceofmannoronesocongenialtohiswishes
thatitgratifiesalldesiresisaworldinwhichartcanarise.Thefairytalesthat
relatesituationsofthissortwouldceasetopleaseiftheyceasedtobefairytales.
Frictionisasnecessarytogenerateestheticenergyasitistosupplytheenergy
thatdrivesmachinery.Whenolderbeliefshavelosttheirgriponimagination~an~
theirholdwasalwaysthereratherthanuponreasonthedisclosurebyscience
oftheresistancethatenvironmentofferstomanwillfurnishnewmaterialsforfine
art.Evennowweowetosciencealiberationofthehumanspirit.Ithasarouseda
moreavidcuriosity,andhasgreatlyquickenedinafewatleastalertuessof
observationwithrespecttothingsofwhoseexistencewewerenotbeforeeven
aware.Scientificmethodtendstogeneratearespectforexperience,andeven
thoughthisnewreverenceisstillconfinedtothefew,itcontainsthepromiseofa
newkindofexperiencesthatwilldemandexpression.
Whocanforeseewhatwillhappenwhentheexperimentaloutlookhasonce
becomethoroughlyacclimatizedinacommonculture?Theattainmentof
perspectivewithreferencetothefutureisamostdifficulttask.Wearegivento

takingfeaturesthataremostprominentandmosttroublesomeatagiventimeas
iftheywerethedewstothefuture.Sowethinkofthefutureeffectofsciencein
termsderivedfromthepresentsituationinwhichitoccupiesapositionofconflict
anddisruptionwithreferencetogreattraditionsofthewesternworld,asifthese
termsdefineditsplacenecessarilyandforever.Buttojudgejustly,wehaveto
seescienceasthingswillbewhentheexperimentalattitzdeisthoroughly
naturalizedAndartinparticularwillalways

340

ARTASEXPERIENCE

bedistractedorelsesoftandoverrefinedwhenitlacksfamiliarthingsforits
material.
Sofar,theeffectofscienceasfaraspainting,poetry,andthenovelare
concerned,hasbeentodiversifytheirmaterialsandformsratherthantocreate
anorganicsynthesis.Idoubtiftherewereatanytimeanylargenumberof
personswhosawlifesteadilyandsawitwhole.And,attheveryworst,itis
somethingtohavebeenfreedfromsynthesesoftheimaginationthatwent
contrarytothegrainofthings.Possessionofaqulckenedsenseofthevaluefor
estheticexperienceofamultitudeofthingsformerlyshutout,issome
compensationamidthemiscellanyofpresentobjectsofart.Thebathing
beaches,streetcorners,flowersandfruits,babiesandbankersofcontemporary
paintingareafterallsomethingmorethanmerediffuseanddisconnected
objects.Fortheyarethefruitsofanewvision.*
Isupposethatatalltimesagreatdealoftheartthathasbeenproducedhas
beentrivialandanecdotal.Thehandoftimehaswinnowedmuchofthisaway,
whileinanexhibitiontodaywearefacedwithit
enmasse.
Nevertheless,the
extensionofpaintingandtheotherartstoincludematterthatwasonceregarded
aseithertoocommonorto9outofthewaytodeserveartisticrecognitionisa
permanentgain.Thisextensionisnotdirectlytheeffectoftheriseofscience.But
itisaproductofthesameconditionsthatledtotherevolutioninscientific
procedure.
Suchdiffusenessandincoherenceasexistinarttodayarethemanifestation
ofthedisruptionofconsensusofbeliefs.Greaterintegrationinthematterand
formoftheartsdependsconsequentlyuponageneralchangeincultureinthe

directionofattitudesthataretakenforgrantedinthebasisofcivilizationandthat
formthesubsoilofconsciousbeliefsandefforts.One

*
Mr.Upprnannhaswrittenasfollows:Onegoestoamuseumandcomes
outwiththefeelingthatonehasheheldanoddassortmentofnudebodies,
copperkettles,orangestomatoes,andzinnias,babies,streetcornersand
bathingbeaches,hankersandfashionableladies.Idonotsaythatthispersonor
thatmaynotfindapictureimmenselysignificanttohim.Butthegeneral
impressionforanyone,Ithink,isofachaosofanecdotes,perceptions,fantasies
andlittlecommentarieswhichmaybeiliwellenoughintheirway,butarenot
sustainingandcouldreadilybedispensedwith.APrefacetoMorals,pp.
103104.

ARTANDCIVILIZATION 341

thingissuretheunitycannotbeattainedbypreachingtheneedofreturning
tothepast.Scienceishere,andanewintegrationmusttakeaccountofitand
includeit.
Themostdirectandpervasivepresenceofscienceinpresentcivilizationis
foundinitsapplicationsinindustry.Herewefindamoreseriousproblem
regardingtherelationofarttopresentcivilizationanditsoutlookthaninthecase
ofscienceitself.Thedivorceofusefulandfineartsignifiesevenmorethandoes
thedepartureofsciencefromthetraditionsofthepast.Thedifferencebetween
themwasnotinstitutedinmoderntimes.ItgoesasfarbackastheGreekswhen
theusefulartswerecarriedonbyslavesandbasemechanicsandsharedin
thelowesteeminwhichthelatterwereheld.Architects,builders,sculptors,
painters,musicalperformerswereartisans.Onlythosewhoworkedinthe
mediumofwordswereesteemedartists,sincetheiractivitiesdidnotinvolvethe
useofhands,toolsandphysicalmaterials.Butmassproductionbymechanical
meanshasgiventheoldseparationbetweentheusefulandfineadecidedlynew
turn.Thesplitisrednforcedbythegreaterimportancethatnowattachesto
industryandtradeinthewholeorganizationofsociety.
Themechanicalstandsatthepoleoppositetothatoftheesthetic,and
productionofgoodsisnowmechanical.Thelibertyofchoiceallowedtothe
craftsmanwhoworkedbyhandhasalmostvanishedwiththegeneraluseofthe
machine.Productionofobjectsenjoyedindirectexperiencebythosewho
possess,tosomeextent,thecapacitytoproduceusefulcommoditiesexpressing
individualvalues,hasbecomeaspecializedmatterapartfromthegeneralrunof

production.Thisfactisprobablythemostimportantfactorinthestatusofartin
presentcivilization.
Thereare,however,certainconsiderationsthatshoulddeteronefrom
concludingthatindustrialconditionsrenderimpossibleanintegrationofartin
civilization.Iamnotabletoagreewiththosewhothinkthateffectiveand
economicaladaptationofthepartsofanobjecttooneanotherwithrespectto
useautomati(allyresultsinbeautyorestheticeffect.Everywellconstructed
objectandmachinehasform,butthereisestheticformonlywhentheobject
havingthisexternalformfits
intOa
largerexperience.Interactionofthematerial
ofthisexperience

342

ARTASEXPERIENCE

withtheutensilormachinecannotbeleftoutofaccount.Butadequate
objectiverelationshipofpartswithrespecttomostefficientuseatleastbrings
aboutaconditionthatis
favorable
toestheticenjoyment.Itstripsawaythe
adventitiousandsuperfluous.Thereissomethingcleanintheestheticsense
aboutapieceofmachinerythathasalogicalstructurethatfitsitforitswork,and
thepolishofsteelandcopperthatisessentialtogoodperformanceisintrinsically
pleasinginperception.Ifonecomparesthecommercialproductsofthepresent
withthoseofeventwentyyearsago,oneisstruckbythegreatgaininformand
color.ThechangefromtheoldwoodenPullmancarswiththeirsillyencumbering
ornamentationstothesteelcarsofthepresentistypicalofwhatImean.The
externalarchitectureofcityapartmentsremainsboxlikebutinternallythereis
hardlylessthananestheticrevolutionbroughtaboutbybetteradaptationto
need.
Amoreimportantconsiderationisthatindustrialsurroundingsworktocreate
thatlargerexperienceintowhichparticularproductsfitinsuchawaythatthey
getestheticquality.Naturally,thisremarkdoesnotrefertothedestructionofthe
naturalbeautiesofthelandscapebyuglyfactoriesandtheirbegrimed
surroundings,nortothecityslumsthathavefollowedinthewakeofmachine
production.Imeanthatthehabitsoftheeyeasamediumofperceptionare
beingslowlyalteredinbeingaccustomedtotheshapesthataretypicalof
industrialproductsandtotheobjectsthatbelongtourbanasdistinctfromrural
life.Thecolorsandplanestowhichtheorganismhabituallyrespondsdevelop
newmaterialforinterest.Therunningbrook,thegreensward,theforms
associatedwitharuralenvironment,arelosingtheirplaceastheprimarymaterial

ofexperience.Partatleastofthechangeofattitudeofthelastscoreofyearsto
modernisticfiguresinpaintingistheresultofthischange.Eventheobjectsof
thenaturallandscapecometobeapperceivedintermsofthespatialrelations
characteristicofobjectsthedesignofwhichisduetomechanicalmodesof
productionbuildings,furnishings,wares.Intoanexperiencesaturatedwiththese
values,objectshavingtheirowninternalfunctionaladaptationswillfitinaway
thatyieldsestheticresults.

ARTANDCIVILIZATION 343

ButsincetheorganismhungersnaturallyforsatisfactionInthematerialof
experience,andsincethesurroundingswhichmanhasmade,underthe
influenceofmodernindustry,afford
less
fulfillmentandmorerepulsionthanat
anyprevioustime,thereisonlytooevidentlyaproblemthatisstillunsolved.The
hungeroftheorganismforsatisfactionthroughtheeyeishardly
less
thanits
urgentimpulsionforfood.Indeedmanyapeasant
has
givenmorecaretothe
cultivationofaflowerplotthantoproducingvegetablesforfood.Theremustbe
forcesatworkthataffectthemechanicalmeansofproductionthatare
extraneoustotheoperationofmachineryitself.Theseforcesarefound,of
course,intheeconomicsystemofproductionforprivate
n
Thelaborandemploymentproblemofwhichwearesoacutelyawarecannot
besolvedbymerechangesinwage,hours
of
workandsanitaryconditions.No
permanentsolutionispossiblesaveinaradicalsocialalteration,whicheffects
thedegreeandkindofparticipationtheworkerhasintheproductionandsocial
dispositionofthewaresheproduces.Onlysuchachangewillseriouslymodify
thecontentofexperienceintowhichcreationofobjectsmadeforuseenters.And
thismodificationofthenatureofexperienceisthefinallydeterminingelementin
theestheticqualityoftheexperienceofthingsproduced.Theideathatthebasic
problemcanbesolvedmerelybyincreaseofhoursofleisureisabsurd.Suchan
ideamerelyretainstheolddualisticdivisionbetweenlaborandleisure.
Theimportantmatterisachangethatwillreducetheforceofexternal
pressureandwillincreasethatofasenseoffreedomandpersonalinterestinthe
operationsofproduction.Oligarchicalcentrolfromtheoutsideoftheprocesses

andtheproductsofworkisthechiefforceinpreventingtheworkerfromhaving
thatintimateinterestinwhathedoesandmakesthatisanessentialprerequisite
ofestheticsatisfaction.Thereisnothinginthenatureofmachineproduction
per
se
thatisaninsuperableobstacleinthewayofworkersconsciousnessofthe
meaningofwhattheydoandenjoymentofthesatisfactionsofcompanionShip
andofusefulworkwelldone.Thepsychologicalconditionsresultingfromprivate
controlofthelaborofothermenforthe
sake
ofprivategain,ratherthanany
fixedpsychologicalorece~

344

ARTASEXPERIENCE

nomiclaw,aretheforcesthatsuppressandlimitestheticqualityinthe
experiencethataccompaniesprocessesofproduction.
Aslongasartisthebeautyparlorofcivilization,neitherartnorcivilizationis
secure.Whyisthearchitectureofourlargecitiessounworthyofafine
civilization?Itisnotfromlackofmaterialsnorfromlackoftechnicalcapacity.
Andyetitisnotmerelyslumsbuttheapartmentsofthewelltodothatare
estheticallyrepellent,becausetheyaresodestituteofimagination.Their
characterisdeterminedbyaneconomicsysteminwhichlandisusedandkept
outofuseforthesakeofgain,becauseofprofitderivedfromrentalandsale.
Untillandisfreedfromthiseconomicburden,beautifulbuildingsmay
occasionallybeerected,butthereislittlehopefortheriseofgeneralarchitectural
constructionworthyofanoblecivilization.Therestrictionplacedonbuilding
affectsindirectlyalargenumberofalliedarts,whilethesocialforcesthataffect
thebuildingsinwhichwesubsistandwhereinwedoourworkoperateuponall
thearts.
AugusteComtesaidthatthegreatproblemofourtimeistheorganizationof
theproletariatintothesocialsystem.Theremarkiseventruernowthanwhenit
wasmade.Thetaskisimpossibleofachievementbyanyrevolutionthatstops
shortofaffectingtheimaginationandemotionsofman.Thevaluesthatleadto
productionandintelligentenjoymentofarthavetobeincorporatedintothe
systemofsocialrelationships.Itseemstomethatmuchofthediscussionof
proletarianartisasidefromthepointbecauseitconfusesthepersonaland
deliberateintentofanartistwiththeplaceandoperationofartinsociety.Whatis
trueisthatartitselfisnotsecureundermodernconditionsuntilthemassofmen

andwomenwhodotheusefulworkoftheworldhavetheopportunitytobefree
inconductingtheprocessesofproductionandarerichlyendowedincapacityfor
enjoyingthefruitsofcollectivework.Thatthematerialforartshouldbedrawn
fromallsourceswhateverandthattheproductsofartshouldbeaccessibletoall
isademandbythesideofwhichthepersonalpoliticalintentoftheartistis
insignificant.

THEmoralofficeandhumanfunctionofartcanbeintelligentlydiscussedonly
inthecontextofculture.Aparticularworkof

ARTANDCIVILIZATION 345

artmayhaveadefiniteeffectuponaparticularpersonoruponanumberof
persons.ThesocialeffectofthenovelsofDickensorofSinclairLewisisfarfrom
negligible.Butalessconsciousandmoremassedconstantadjustmentof
experienceproceedsfromthetotalenvironmentthatiscreatedbythecollective
artofatime.Justasphysicallifecannotexistwithoutthesupportofaphysical
environment,somorallifecannotgoonwithoutthesupportofamoral
environment.Eventechnologicalarts,intheirsumtotal,dosomethingmorethan
provideanumberofseparateconveniencesandfacilities.Theyshapecollective
occupationsandthusdeterminedirectionofinterestandattention,andhence
affectdesireandpurpose.
Thenoblestmanlivinginadesertabsorbssomethingofitsharshnessand
sterility,whilethenostalgiaofthemountainbredmanwhencutofffromhis
surroundingsisproofhowdeeplyenvironmenthasbecomepartofhisbeing.
Neitherthesavagenorthecivilizedmaniswhatheisbynativeconstitutionbut
bythecultureinwhichheparticipates.Thefinalmeasureofthequalityofthat
cultureistheartswhichflourish.Comparedwiththeirinfluencethingsdirectly
taughtbywordandpreceptarepaleandineffectual.Shelleydidnotexaggerate
whenhesaidthatmoralscienceonlyarrangestheelementsthatpoetryhas
created,ifweextendpoetrytoincludeallproductsofimaginativeexperience.
Thesumtotaloftheeffectofallreflectivetreatisesonmoralsisinsignificantin
comparisonwiththeinfluenceofarchitecture,novel,drama,onlife,becoming
importantwhenintellectualproductsformulatethetendenciesoftheseartsand
providethemwithanintellectualbase.Aninnerrationalcheckisasignof
withdrawalfromrealityunlessitisareflectionofsubstantialenvironingforces.

Thepoliticalandeconomicartsthatmayfurnishsecurityandcompetencyareno
warrantsofarichandabundanthumanlifesaveastheyareattendedbythe
flourishingoftheartsthatdetermineculture.
Wordsfurnisharecordofwhathashappenedandgivedirectionbyrequest
andcommandtoparticularfutureactions.literatureconveysthemeaningofthe
pastthatissignificantinpresentexperienceandispropheticofthelarger
movementofthefuture.Onlyimaginativevisionelicitsthepossibilitiesthat
UO
interwovenwithinthetextureoftheactual.Thefirststirrings

346

ARTASEXPERIENCE

ofdissatisfactionandthefirstintimationsofabetterfuturearealwaysfoundin
worksofart.Theimpregnationofthecharacteristicallynewartofaperiodwitha
senseofdifferentvaluesthanthosethatprevailisthereasonwhythe
conservativefindssucharttobeimmoralandsordid,andisthereasonwhyhe
resortstotheproductsofthepastforestheticsatisfaction.Factualsciencemay
collectstatisticsandmakecharts.Butitspredictionsare,ashasbeenwellsaid,
butpasthistoryreversed.Changeintheclimateoftheimaginationisthe
precursorofthechangesthataffectmorethanthedetailsoflife.

THEtheoriesthatattributedirectmoraleffectandintenttoartfailbecause
theydonottakeaccountofthecollectivecivilizationthatisthecontextinwhich
worksofartareproducedandenjoyed.Iwouldnotsaythattheytendtotreat
worksofartasakindofsublimatediEsopsfables.Buttheyalltendtoextract
particularworks,regardedasespeciallyedifying,fromtheirmilieuandtothinkof
themoralfunctionofartintermsofastrictlypersonalrelationbetweenthe
selectedworksandaparticularindividual.Theirwholeconceptionofmoralsisso
individualisticthattheymissasenseofthe
way
inwhichartexercisesitshumane
function.
MatthewArnoldsdictumthatpoetryiscriticismoflifeisacaseinpoint.It
suggeststothereaderamoralintentonthepartofthepoetandamoral
judgmentonthepartofthereader.Itfailstoseeoratalleventstostate
how
poetryisacriticismoflifenamely,notdirectly,butbydisclosure,through
imaginativevisionaddressedtoimaginativeexperience(nottosetjudgment)of

possibilitiesthatcontrastwithactualconditions.Asenseofpossibilitiesthatare
unrealizedandthatmightberealizedarewhentheyareputincontrastwith
actualconditions,themostpenetratingcriticismofthelatterthatcanbemade.
Itisbyasenseofpossibilitiesopeningbeforeusthatwebecomeawareof
constrictionsthathemusinandofburdensthatoppress.
Mr.Garrod,afollowerofMatthewArnoldinmoresensesthanone,haswittily
saidthatwhatweresentindidacticpoetryisnotthatitteaches,butthatitdoes
notteach,itsincompetency.Headdedwordstotheeffectthatpoetryteachesas
friendsand

ARTANDCIVILIZATION 347

lifeteach,bybeing,andnotbyexpressintent.Hesaysinanotherplace,
Poeticalvaluesare,afterall,valuesinahumanlife.Yoi~cannotmarkthemoff
fromothervalues,asthoughthenatureofmanwerebuiltinbulkheads.Idonot
thinkthatwhatKeatshassaidinoneofhisletterscanbesurpassedastothe
wayinwhichpoetryacts.Heaskswhatwouldbetheresultifeverymanspun
fromhisimaginativeexperienceanairycitadellikethewebthespiderspins,
fillingtheairwithabeautifulcircuiting.For,hesays,manshouldnotdisputeor
assert,butwhisperresultstohisneighbor,andthus,byeverygermofspirit
suckingthesapfrommoldetherial,everyhumanbeingmightbecomegreat,and
HumanityinsteadofbeingawideheathofFurzeandbriarswithhereandtherea
remotePineorOak,wouldbecomeagranddemocracyofForestTrees
I
Itisbywayofcommunicationthatartbecomestheincomparableorganof
instruction,butthewayissoremotefromthatusuallyassociatedwiththeideaof
education,itisawaythatliftsartsofarabovewhatweareaccustomedtothink
ofasinstruction,thatwearerepelledbyanysuggestionofteachingandlearning
inconnectionwithart.Butourrevoltisinfactareflectionuponeducationthat
proceedsbymethodssoliteralastoexcludetheimaginationandonenot
touchingthedesiresandemotionsofmen.Shelleysaid,Theimaginationisthe
greatInstrumentofmoralgood,andpoetryadministerstotheeffectbyacting
uponthecauses.Henceitis,hegoesontosay,a
poet
woulddoilltoembody
hisownconceptionsofrightandwrong,whichareusuallythoseofhisowntime
andplace,inhispoeticalcreations....Bytheassumptionofthisinferioroffice
hewouldresignparticipationinthecausetheimagination.Itisthelesser
poetswhohavefrequentlyaffectedamoralaim,andtheeffectoftheirpoetryis

diminishedinexactproportionastheycompelustoadverttothispurpose.But
thepowerof1magsnati~eprojectionissogreatthathecallspoetsthefounders
ofcivilsociety.
Theproblemoftherelationofartandmoralsistoooftentreatedasifthe
problemexistedonlyonthesideofart.ItisVirtuallyassumedthatmoralsare
satisfactoryinideaifnotinfact,andthattheonlyquestioniswhetherandinwhat
ways
artshouldconformtoamoralsystemalreadydeveloped.
But

348

ARTASEXPERIENCE

Shelleysstatementgoestotheheartofthematter.Imaginationisthechief
instrumentofthegood.Itismoreorlessacommonplacetosaythatapersons
ideasandtreatmentofhisfellowsaredependentuponhispowertoputhimself
imaginativelyintheirplace.Buttheprimacyoftheimaginationextendsfar
beyondthescopeofdirectpersonalrelationships.Exceptwhereidealisusedin
conventionaldeferenceorasanameforasentimentalreverie,theidealfactors
ineverymoraloutlookandhumanloyaltyareimaginative.Thehistoricallianceof
religionandarthasitsrootsinthiscommonquality.Henceitisthatartismore
moralthanmoralities.Forthelattereitherare,ortendtobecome,consecrations
ofthe
statusquo,
reflectionsofcustom,reenforcementsoftheestablishedorder.
Themoralprophetsofhumanityhavealwaysbeenpoetseventhoughthey
spokeinfreeverseorbyparable.Uniformly,however,theirvisionofpossibilities
hassoonbeenconvertedintoaproclamationoffactsthatalreadyexistand
hardenedintosemipoliticalinstitutions.Theirimaginativepresentationofideals
thatshouldcommandthoughtanddesirehavebeentreatedasrulesofpolicy.
Arthasbeenthemeansofkeepingalivethesenseofpurposesthatoutrun
evidenceandofmeaningsthattranscendinduratedhabit.
Moralsareassignedaspecialcompartmentintheoryandpracticebecause
theyreflectthedivisionsembodiedineconomicandpoliticalinstitutions.
Whereversocialdivisionsandbarriersexist,practicesandideasthatcorrespond
tothemfixmetesandbounds,sothatliberalactionisplacedunderrestraint.
Creativeintelligenceislookeduponwithdistrusttheinnovationsthatarethe
essenceofindividualityarefeared,andgenerousimpulseisputunderbondsnot
todisturbthepeace.Wereartanacknowledgedpowerinhumanassociationand

nottreatedasthepleasuringofanidlemomentorasameansofostentatious
display,andweremoralsunderstoodtobeidenticalwitheveryaspectofvalue
thatissharedinexperience,theproblemoftherelationofartandmoralswould
notexist.
Theideaandthepracticeofmoralityaresaturatedwithconceptionsthatstem
frompraiseandblame,rewardandpunishment.Mankindisdividedintosheep
andgoats,theviciousandvirtuous,thelawabidingandcriminal,thegoodand
bad.Tobebeyondgoodandevilisanimpossibilityforman,andyetaslong

ARTANDCIVILIZATION 349

asthegood
signifiesonlythatwhichislaudedandrewarded,and
theevil
that
whichiscurrentlycondemnedoroutlawed,theidealfactorsofmoralityare
alwaysandeverywherebeyondgoodandevil.Becauseartiswhollyinnocentof
ideasderivedfrompraiseandblame,itislookeduponwiththeeyeofsuspicion
bytheguardiansofcustom,oronlytheartthatisitselfsooldandclassicasto
receiveconventionalpraiseisgrudginglyadmitted,provided,aswith,say,the
caseofShakespeare,signsofregardforconventionalmoralitycanbe
ingeniouslyextractedfromhiswork.Yetthisindifferencetopraiseandblame
becauseofpreoccupationwithimaginativeexperienceconstitutestheheartof
themoralpotencyofart.Fromitproceedstheliberatingandunitingpowerofart.
Shelleysaid,Thegreatsecretofmoralsislove,ora
goingoutofownature
andtheidentificationofourselveswiththebeautifulwhichexistsinthought,
action,orperson,notourown.Amantobegreatlygoodmustimagineintensely
andcomprehensively.Whatistrueoftheindividualistrueofthewholesystem
ofmoralsinthoughtandaction.Whileperceptionoftheunionofthepossiblewith
theactualinaworkofartisitselfagreatgood,thegooddoesnotterminatewith
theimmediateandparticularoccasioninwhichitishad.Theunionthatis
presentedinperceptionpersistsintheremakingofimpulsionandthought.The
firstintimationsofwideandlargeredirectionsofdesireandpurposeareof
necessityimaginative.Artisamodeofpredictionnotfoundinchartsand
statistics,anditinsinuatespossibilitiesofhumanrelationsnottobefoundinrule
andprecept,admonitionandadministration.

Butart,whereinmanspeaksinnowisetoman,

Onlytomankjnd~jrtmaytellatruth
Obliquely,dothedeedshallbreedthethought.