Chapter III: The Conception and Cognizance of the Beautiful (2)

_Definitions combining both Elements._--The greater number, however, of those who have written on this subject, have combined in their definitions of taste both these elements, the power of perceiving and the power of feeling. So Burke: "That faculty, or those faculties of the mind which _are affected with_, or which _form a judgment of_, the works of imagination and the elegant arts." Alison: "That faculty of the mind by which we _perceive_ and _enjoy_ whatever is beautiful or sublime in the works of nature and art." Reid also makes it consist in "the power of discerning and relishing" these objects. Voltaire makes the feeling quite as essential as the perception. Benard, Professor of Philosophy in the College Royal at Rouen, in the excellent article on taste, in the Dictionnaire des Sciences Philosophiques, defines taste as "that faculty of the mind which makes us to discern and feel the beauties of nature, and whatever is excellent in works of art." It is a compound faculty, according to this author, inhabiting at once both worlds, that of sense and that of reason. Beauty reveals itself to us only under sensible forms, the faculty which contemplates the beautiful, therefore, seizes it only in its sensible manifestation. The pure idea, on the other hand, in its abstract nature, addresses not the taste but the understanding; it appears to us, not as the beautiful, but as the true. Taste, then, has to do with sense. Still, says Benard, "the essential element which constitutes it, pertains to the reason; it is, in truth, only one of the forms of this sovereign power, which takes different names according to the objects which it deals with; _reason_, properly speaking, when it employs itself in the sphere of speculative truth; _conscience_, when it reveals to us truths moral or practical; _taste_, when it appreciates the beauty and suitableness of objects in the real world, or of works of art."

_These three Classes comprehensive._--Other authorities and definitions, almost without number, might be added, but they fall essentially under the three classes now specified. Which of these views, then, is the correct and true one? is the question now before us. Is taste a matter of feeling, or is it an intellectual discernment, or is it both? Evidently we cannot depend on authority for the decision of this question, since authorities differ. We must examine for ourselves.

_Etymology of the Term._--To some extent the word itself may guide us. Borrowed, as are most if not all words expressing mental states and acts, from the sphere of sense, there was doubtless some reason why this word in particular was selected to denote the power of the mind now under consideration. Some close analogy, doubtless, was supposed to exist between the physical state denoted by this word in its primary sense, and the mental faculty to which we refer, so that, in seeking for a term by which to designate that intellectual faculty, none would more readily present itself, as appropriate and suggestive of the mental state intended, than the one in question. This analogy, whatever it be, while it cannot be taken as decisive of the question before us, is still an element not to be overlooked by the psychologist. What, then, is the analogy? How comes this word--_taste_--to be used, rather than any other, to denote the idea and power now under consideration?

_Taste as a Sense._--In the domain of sense, certain objects brought in contact with the appropriate physical organ, affect us as sweet, sour, bitter, etc. This is purely an affection of the sensibility, mere feeling. We say the thing _tastes_ so and so. The power of distinguishing such qualities we call the power or sense of taste. Primarily mere sensation, mere feeling, we transfer the word to denote the power of judging by means of that sensation. There is, in the first instance, an affection of the organ by the object brought in contact with it, of which affection we are cognizant; then follows an intellectual perception or judgment that the object thus affecting us, possesses such and such qualities, is sweet, sour, bitter, salt, etc.. The sensation affords the ground of the judgment. The latter is based upon the former. The sensation, the simple feeling, affords the means of discriminating, judging, distinguishing, and to this latter power or process the word taste, in the physical sense, is more frequently appropriated. We say of such or such a man, his taste is acute, or his taste is impaired, or dull, etc., meaning his power of perceiving and distinguishing the various properties of objects which affect his sense of taste.

_Analogy of this to the mental Process called Taste._--It is easy to perceive, now, the analogy between the physical power and process thus described, and the psychological faculty under consideration, to which the name primarily denoting the former has been transferred. Objects in nature and art present themselves to the observation, and awaken pleasure as beautiful, or excite disgust as the opposite. A mere matter of sensibility, of feeling, this. Presently, however, we begin to notice, not the mere feeling of pleasure or aversion, but the character of the object that awakens it, we discriminate, we attribute to the object such and such qualities, take cognizance of it as possessing those qualities. This discriminating power, this judgment of the mind that the object possesses such properties, we call taste. As, in the sphere of sense, the feeling awakened affords the means of judging and distinguishing, as to the qualities of the object, so here. The beautiful awakens sensation--a vivid feeling of pleasure, delight, admiration; deformity awakens the reverse; and this feeling enables us to judge of the object, as regards the property in question, viz., beauty or deformity, whether, and how far, as compared with other objects of the mind, it possesses this quality. In either case--the physical and the psychological--the process begins with sensation or feeling, but passes on at once into the domain of intellect, the sphere of understanding or judgment; and while, in either case, the word taste may, without impropriety, be used to denote the feeling or susceptibility of impression which lies at the foundation of the intellectual process, it is more strictly appropriate to the faculty of discriminating the objects, and the qualities of objects, which awaken in us the given emotions.

So far as the word itself can guide us, then, it would seem to be in the direction now indicated.

_Appeal to Consciousness._--Analogy, however, may mislead us. We must not base a doctrine or decide a question in psychology upon the meaning of a single term. Upon observation and consciousness of what actually passes in our own minds, in view of the beautiful, we must, after all, rely. Let us place ourselves, then, in the presence of the beautiful in nature or art, and observe the various mental phenomena that present themselves to our consciousness.

I stand before a statue of Thorwalsden or Canova. The spell and inspiration of high art are upon me. What passes now in my mind?

_The first Element._--First of all, I am conscious of almost instant emotion in view of the object, an emotion of pleasure and delight. No sooner do my eyes rest upon the chiselled form that stands in faultless and wondrous beauty before me, than this emotion awakens. It springs into play, as a fountain springs out of the earth by its own spontaneous energy, or, as the light plays on the mountain tops, and flushes their snowy summits, when the sun rises on the Alps. It is by no volition of mine that this takes place.

_A second Element._--Along with the emotion, there is another thing of which, also, I am conscious. Scarcely have my eyes taken in the form and proportions on which they rest with delight, scarcely has the first thrill of emotion, thus awakened, made itself known to the consciousness, when I find myself exclaiming, "How beautiful!" The soul says it; perhaps the lips utter it. If not an oral, it is, at least, a mental affirmation. The mind perceives, at a glance, the presence of beauty, recognizes its divinity, and pays homage at its shrine; not now the blind homage of feeling, merely, but the clear-sighted perception of the intellect, the sure decision of the understanding affirming, with authority 'That which thou perceivest and admirest is beautiful.' This is an act of judgment, based, however, on the previous awakening of the sensibility. I know, because I feel.

_A third Element._--In addition to these, there may, or may not be, another phase of mental action. I may begin, presently, to observe, with a more careful eye, the work before me, and form a critical estimate of it, scan its outline, its several parts, its effect as a whole, ascertain its merits, and its defects as a work of art, study its design, its idea, and how well it expresses that idea, and fulfills that design. I seek to know what it is in the piece that pleases me, and why it pleases me. This may, or may not, take place. Whether it shall occur, or not, will depend on the state of the mind at the moment, the circumstances in which it is placed, its previous training and culture, its habits of thought. This, too, is an exercise of judgment, comparing, distinguishing, deciding; a purely intellectual process. It is not so much a new element, as a distinct phase of that last named. It is the mind deciding and affirming now, not merely that the object is beautiful, but _in what_ and _why_ it is so.

_Uniformity of Results._--I change now the experiment. I repeat it. I place myself before other works, before works of other artists--works of the painter, the architect, the musician, the poet, the orator. Whatever is beautiful, in art or nature, I observe. I perceive, in all cases, the same results, the occurrence of essentially the same mental phenomena. I conclude that these effects are produced, not fortuitously, but according to the constitution of my nature; that they are not specific instances, but general laws of mental action; in other words, that the mind possesses a susceptibility of being impressed in this manner by such objects, and also a faculty of judging and discriminating as above described. To these two elements, essentially, then, do the mental phenomena occasioned by the presence of the beautiful, reduce themselves.

_The Question._--Which, then, of these elements is it that answers to the idea of taste, as used to denote a power of the mind? Is it the susceptibility of emotion in view of the beautiful, the power of feeling; or is it the faculty of judging and discriminating; or is it both combined? Our definitions, as we have seen, include both; the word, itself, may denote either; both are comprised in our analysis of the mental phenomena in view of the beautiful.

_Not the first._--Is it the first? I think not. Taste is not mere emotion, nor mere susceptibility of emotion. A child or a savage may be deficient in taste, yet they may be as deeply moved in view of the beautiful, in nature or art, as the man of cultivated mind; nay, their emotion may exceed his. They may regard, with great delight and admiration, what he will view with entire indifference. So far from indicating a high degree of taste, the very susceptibility of emotion, in such cases, may be the sure indication of a want of taste. They are pleased with that which a cultivated and correct taste would condemn. The power of being moved is simply sensibility, and sensibility is not taste, however closely they may be related.

_Taste the intellectual Element._--Is taste, then, the power of mental discrimination which enables me to say that such and such things are, or are not, beautiful, and which, in some cases, perhaps, enables me to decide why, or wherein they are so? Does it, in a word, denote the _intellectual_ rather than the _emotional_ element of the process? I am inclined to think this the more correct view. Susceptibility of emotion is, doubtless, concerned in the matter. It has to do with taste. It may be even the ground and foundation of its exercise, nay, of its existence. But it is not, itself, taste, and should not be included, therefore, in the definition.

_Reason for distinguishing the two._--As we distinguish, in philosophical investigation, between an emotion and the intellectual perception that precedes and gives rise to it, or between the perception and the sensation on which it is founded, so I would distinguish _taste_, or the intellectual perception of the beautiful, from the _sensation_ or _feeling_ awakened in view of the object. The fact that both elements exist, and enter into the series of mental phenomena in view of the beautiful, is no reason why they should both be designated by the same term, or included in the same definition, but, rather, it is a reason why they should be carefully distinguished.

The precise nature of this faculty may be more distinctly perceived, if we consider, more particularly, its relation to the _judgment_, and also to the _sensibility_.

_Taste, as related to Judgment._--According to the view now taken, taste is only a modification, or rather a particular direction of that general power of the mind which we call _judgment_; it is judgment exercised about the beautiful. It is the office of the judgment to form opinions and beliefs, to inform us of relations, to decide that things are thus and thus, that this is this, and that is that. As employed in different departments of thought, it appears under different forms, and is known under diverse names. As employed about the actual and sensible, we call it understanding; in the sphere of abstract truth it works under the cognomen of reason; in the sphere of practical truth, the thing that is good and right to be done by me, it is known as conscience; in the sphere of the ideal and the beautiful it is taste. In all these departments of mental activity it is exercised, employs itself upon all these subjects, giving us opinion, belief, knowledge, as to them all. The judgment as thus exercised in relation to the beautiful, that is to say, the mind observing, comparing, discriminating, deciding, forming the opinion, or reaching it may be the positive knowledge that this thing is, or is not, beautiful--for this is simply what we mean by judgment in any particular instance--judgment, as thus exercised, is known by the name of _taste_. More strictly speaking, it is not so much the _exercise_ of the judgment in this particular way in given instances, as the _foundation_ or _ground_ of that exercise, the _discriminating faculty_ or _power_ of the mind by virtue of which it thus operates.

_Judgment does not furnish the Ideas._--Does, then, the judgment, it may be asked, give us originally the ideas of the true, the beautiful, and the good? This we do not affirm. Judgment is not the source of ideas, certainly not of those now mentioned. It does not originate them. Their origin and awakening in the human mind is we should say, on this wise. The beautiful, the true, the good, exist as simple, absolute, eternal principles. They are in the divine mind. They are in the divine works. In a sense they are independent of Deity. He does not create them. He cannot reverse them or change their nature. He works according to them. They are not created by, but only _manifested in_, what God does. We are created with a nature so formed and endowed as to be capable of recognizing these principles and being impressed by them. The consequence is, that no sooner do we open the eye of reason and intelligence upon that which lies around and passes before us, in the world, than the idea of the true, the beautiful, the morally good, is awakened in the mind. We instinctively perceive and feel their presence in the objects presented to our notice. They are the product of our rational intelligence, brought into contact, through sense, with the world in which we dwell. The idea of beauty or of the right, thus once awakened in the mind, when afterward examples, or, it may be, violations, of these principles occur, the judgment is exercised in deciding that the cases presented do or do not properly fall under the class thus designated; and the judgment thus exercised in respect to the beautiful, we call _taste_, in respect to the right, _conscience_.

_Taste as now defined._--As now defined, taste is, as to its principle, _the discriminating power of the mind with respect to the beautiful or sublime in nature or art_; that certain state, quality, or condition of the mental powers and the mental culture, the result partly of native difference and endowment, partly of education and habit, by virtue of which we are able to judge more or less correctly as to the beauty or deformity, the merit or demerit of whatever presents itself in nature or art as an object of admiration, whether and how far it is in reality beautiful, and of its fitness to awaken in us the emotions that we experience in view thereof. If we are able to observe, compare, discriminate, form opinions and conclusions well and correctly, on these matters, our taste is good; otherwise bad. Whether it be the one or the other, will depend not entirely on native endowment, not altogether on the degree to which the judgment is cultivated and developed in respect to other matters, but quite as much on the culture and training of the mind with respect to the specific objects of taste, viz., the beauties of nature and art. Men of strong minds, good understanding, and sound judgment in other matters, are not necessarily men of good taste. Like every other faculty of the mind, taste requires cultivation.

_Taste and good Taste._--It is necessary to distinguish between taste, and good taste. Many writers use the terms indifferently, as when we say such a one is a man of taste, meaning of good taste, or such a one has no taste whatever, meaning that he is a man of bad taste. Strictly speaking, the savage who rejoices in the disfigurement of his person by tattooing, paint, and feathers, is a man of _taste_, as really as the Broadway dandy, or the Parisian exquisite. He has his faculty of judging in such matters, and exercises it--his standard of judging, and comes up to it. He is a man of taste, but not of correct taste. He has his own notions, but they do not agree with ours. He violates all the rules and principles by which well-informed minds are guided in such matters. He shocks our notions of fitness and propriety, excites in us emotions of disgust, or of the ludicrous, and, on the whole, we vote him down as a man of no authority in such matters.

_As related to Sensibility._--Thus far we have spoken of taste only as related to the judgment. It is necessary to consider also its relation to the _sensibility_. Taste and sensibility are very often confounded. They are, in reality, quite distinct. Sensibility, so far as we are at present concerned with it, is the mind's _capability of emotion_ in view of the beautiful or sublime. Taste is its _capability of judging_, in view of the same. Viewed as acts, rather than as states or powers of the mind, sensibility is the feeling awakened in view of a beautiful object; taste is the judgment or opinion formed respecting it. In the case already supposed, I stand before a fine statue or painting. It moves me, attracts me, fills me with delight and admiration. In this, it is not directly and immediately my taste, but my sensibility, that is affected and brought into play. I begin to judge of the object before me as a work of art, to form an opinion respecting its merits and demerits; and, in so doing, my taste is exercised.

_The two not always proportional._--Not only are the two principles distinct, but not always do they exist in equal proportion and development in the same mind. Persons of the liveliest sensibility are not always, perhaps not generally, persons of the nicest taste. The child, the uneducated peasant, the negro, are as highly delighted with beautiful forms and beautiful colors as the philosopher, but could not tell you so well why they were moved, or what it was, in the object, that pleased them; neither would they discriminate so well the truly beautiful from that which is not worthy of admiration. If there may be sensibility without taste, so, on the other hand, a high degree of taste is not always accompanied with a corresponding degree of sensibility. The practised connoisseur is not always the man who enjoys the most at sight of a fine picture. The skillful musician has much better taste in music than the child that listens, with mingled wonder and delight, to his playing; but we have only to glance at the countenance of each, to see at once which feels the most.

_Sensibility not inconsistent with Taste._--I should not, however, infer from this, that a high degree of sensibility is inconsistent with a high degree of taste. This was Mr. Stewart's opinion. The feeling, he would say, will be likely to interfere with the judgment, in such a case. Doubtless; where the feeling is highly wrought upon and excited, it may, for the time, interfere with the cool and deliberate exercise of the judgment. Yet, nevertheless, if sensibility be wanting, there will not be likely to be much taste. If I feel no pleasure at sight of a beautiful landscape or painting, I shall not be likely to trouble myself much about its comparative merits or defects. It is useless, in such a case, to inquire what pleases me, or why I am pleased, when, in truth, nothing pleases me. There is no motive for the exercise of judgment in such a case, neither is there an opportunity for its action. The very foundation for such an exercise is wanting. A lively sensibility is the basis of a correct taste, the ground on which it must rest, the spring and life of its action. The two are related somewhat as genius and learning which are not always found in equal degree, yet are by no means inconsistent with each other. There may be a high degree of mental strength and activity, without corresponding acquisitions; yet there can hardly be learning without some degree of mental power and activity. There may be sensibility without much taste, but hardly much taste without sensibility. Taste is, in a great measure, acquired, cultivated, an art; sensibility, a native endowment. It may be developed, strengthened, educated, but not acquired. Genius produces, sensibility admires, taste judges or decides. Their action is reciprocal. If taste corrects and restrains the too ready or too extravagant sensibility, the latter, on the other hand, furnishes the ground and data upon which, after all, taste must rely in its decisions.

_Cultivation of Taste._--We have investigated, with some care, as was proposed, the nature of that power of the mind which takes cognizance of the beautiful. On the cultivation of this power, a few words must be said in this connection. Taste is an intellectual faculty, a perceptive power, a matter of judgment, and, as such, both admits and requires cultivation. No forms of mental activity depend more on education and exercise, for their full development, than that class to which we give the general name of judgment, and no form of judgment more than that which we call taste. The mind uncultivated, untrained, unused to the nice perception of the beautiful, can no more judge correctly, in matters of taste, than the mind unaccustomed to judge of the distance, magnitude, or chemical properties of bodies, can form correct decisions upon these subjects. It must be trained by art, and strengthened by exercise. It must be made familiar with the laws, and conversant with the forms of beauty. It must be taught to observe and study the beautiful, in nature and in art, to discriminate, to compare, to judge. The works in literature and in art which have received the approbation of time, and the honorable verdict of mankind, as well as the objects in nature which have commanded the admiration of the race, must become familiar, not by observation only, but by careful study. Thus may taste be cultivated.

HISTORICAL SKETCH.

_View of Plato._--Among the ancients, _Plato_ was, perhaps, the first to distinguish the idea of the beautiful from other kindred ideas, and to point out its affinity with the true and the good, thus recognizing in it something immutable and eternal. In making the good and the beautiful identical, however, he mistakes the true character and end of art, Previously to Plato, and even by him, art and the beautiful were treated only in connection with ethics and politics' æsthetics, as a distinct department of science, was not known to the ancients.

_Of Aristotle._--_Aristotle_ has not treated of the beautiful but only of dramatic art. Poetry, he thinks, originates in the tendency to imitate, and the desire to know. Tragedy is the imitation of _the better_. Painting should represent, in like manner, not _what is_, but what _ought to be_. In this sense, may be understood his profound remark, that _poetry is more true than history_.

_Plotinus and Augustine._--After Aristotle, _Plotinus_ and _Augustine_ alone, among the ancients, have treated of the beautiful. The work of Augustine is not extant. It is known that he made beauty consist in unity and fitness of parts, as in music. The treatise of Plotinus is regarded as at once beautiful and profound. Material beauty is, with him, only the expression or reflection of spiritual beauty. The soul alone, the mind, is beautiful, and in loving the beautiful, the soul loves its own image as there expressed. Hence, the soul must, itself, be beautiful, in order to comprehend and feel beauty. The tendency of this theory is to mysticism.

_Longinus and Quintilian._--Longinus, and Quintilian, treat of the sublime, only with reference to eloquence and oratory; so, also, Horace, of art, as having to do with poetry.

_Bacon._--Among the moderns, _Bacon_ recognizes the fine arts as among the sciences, and poetry as one of the three chief branches of human knowledge, but nowhere, that I am aware, treats of the beautiful, distinctly, as such.

_School of Leibnitz._--It was the school of _Leibnitz_ and _Wolf_ in Germany that first made the beautiful a distinct science. Baumgarten, disciple of Wolf, first conceived this idea. Like Plato, however, he makes the beautiful too nearly identical with the good and with morals.

_School of Locke._--In England, the school of _Locke_ have much to say of beauty. Shaftesbury and Hutcheson, while they do not clearly distinguish between the beautiful and the good, adopt the theory of unity in variety, as already explained. Hogarth falls into the same class, his idea of beauty being represented by the waving line. Burke does not distinguish sufficiently between the sublime and the terrible.

_French Encyclopedists._--In France, the _Encyclopedists_ coincide, essentially, with the school of Locke, and treat of the beautiful, chiefly in its moral aspect.

_The later Germans._--In Germany, again, _Winckelman_, an artist, and not a philosopher, seizing the spirit of the Greek art, ascribes, as Plato had done, the idea of beauty to God, from whom it passes into sensible things, as his manifestations.

In opposition to this ideal and divine aspect, _Lessing_ takes a more practical view, regarding the beautiful from the stand-point of the _real_. _Herder_ and _Goethe_ contribute, also, much to the science of æsthetics. All these do little more than prepare the way for _Kant_, who goes more profoundly into the philosophy of the matter. He makes beauty a _subjective_ affair, a play of the imagination.

_Schiller_ makes it the joint product of the reason and the sensibility, but still a _subjective_ matter, as Kant.

_Schelling and Hegel._--_Schelling_ develops the spiritual or ideal theory of beauty. _Hegel_ carries out this theory and makes a complete science of it, classifies and analyzes the arts. His work is regarded as the first complete discussion of the philosophy of the fine arts. It is characterized by strength, clearness, depth, power of analysis, richness of imagination.

_Theory of Jouffroy._--_Jouffroy_, in France, among the later writers, has treated fully, and in an admirable manner, of the philosophy of the beautiful. His theory is derived from that of Hegel, with some modifications. It is essentially the theory last presented in the discussion of the subject in the preceding section, viz., the expression of the spiritual or invisible element under sensible forms. No writer is more worthy of study than Jouffroy. His work is clear, strong, and of admirable power of analysis.

_Cousin._--Among the eclectics, _Cousin_, in his treatise on the true, the beautiful, and the good, has many just observations, with much beauty and philosophic clearness of expression.

_McDermot._--In English, beside the works already referred to, must be noticed the treatise of _McDermot_ on Taste, in which the nature and objects of taste are fully and well discussed.