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Speaker 1: Chapter sixteen. The esthetic emotions. By the esthetic emotions is

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meant those emotional feelings which are concerned with the perception

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of beauty or taste, and by reason of which we

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like or dislike certain perceptions of century impressions. In order

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to get a better idea, let us consider what is

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meant by beauty and taste. Beauty is defined as that

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quality or assemblage of qualities in an object which gives

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the eye or the ear intense pleasure, or that characteristic

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in an object which gratifies the intellectual or moral feeling. Taste,

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in this sense of the term is defined as nice perception,

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or the power of perceiving and relishing excellence in human performances,

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the power of appreciating the finer qualities of art, the

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faculty of discerning beauty, order, congruity, proportion, symmetry, or whatever

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constitutes exit xcelence, particularly in the fine arts or literature.

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The faculty of the mind by which we both perceive

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and enjoy whatever is beautiful or sublime in the works

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of nature and art. The possession of taste ensures grace

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and beauty in the works of an artist, and the

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avoidance of all that is low or mean. It is

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as often the result of an innate sense of beauty

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or propriety as of art education, and no genius can

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compensate for the want of it. Tastes differ so much

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among individuals, nations, or in different ages and conditions of civilization,

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that it is utterly impossible to set up a standard

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of taste applicable to all men and to all stages

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in the evolution of society. The esthetic sense, feeling, and

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emotion are products of the latest stages of the evolution

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of the mind of man. Their roots, however, may be

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seen in the crude attempts at decoration and adornment in

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the scene Savage, and still further back in the tendency

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of certain birds to adorn their nests or bowers. Moreover,

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some sense of beauty must exist in the lower animals,

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which are influenced thereby in the selection of their mates,

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the bright plumage of the birds and the coloring of

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the insects and higher animals, evidencing the existence of at

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least a primitive esthetic sense. Herbert Spencer says that one

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characteristic of the esthetic feelings is that they are separated

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from the functions vitally requisite and necessary to sustain life,

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and it is not until the latter are reasonably well

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satisfied that the former begin to manifest in force. The

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authorities hold that the basic element concerned in the manifestation

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of the esthetic emotional feeling is the sensory element, which

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consists of the pleasure arising from the perception of objects

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of vision or hearing which are deemed beautiful. There is

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a certain nervous satisfaction which arises from a perception of

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the sensation of the sight of a beautiful thing or

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the hearing of beautiful sound. Just why certain sights prove

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agreeable and others disagreeable, or certain sounds pleasant and others unpleasant,

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is very difficult to determine association and Habit may have

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something to do with the beauty of sight object, and

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it may be natural harmony of vibration in colours, as

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there is in sound. In the case of sounds, there

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is undoubtedly a natural harmony between the vibrations of certain

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notes of the scale, and in harmony between others. Some

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have held that the secret of the enjoyment of music

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is found in the natural appreciation of rhythm, as rhythm

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is a cosmic manifestation evident in everything from great to small.

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But these theories do not account for differences existing in

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the tastes regarding colour and music, manifested by different individuals, races,

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and classes of people. Grant Allen says, the vulgrare pleased

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with great masses of color, especially red, orange, and purple,

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which give their coarse nervous organization the requisite stimulus. The refined,

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with nerves of less caliber but greater discriminativeness, require delicate

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combinations of complimentaries and prefer neutral tints to the glare

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of the primary hues. Children and savages love to dress

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in all the colors of the rainbow. In the same way,

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persons of certain types of taste are pleased with rag

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time and cheap, rollicking songs or dances, while others shudder

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at these and find the light in the classic productions

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of the great composers. There is also the intellectual element

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to be reckoned with in the esthetic emotions. The intellect

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must discover the beauty in certain objects before the emotion

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is aroused by the perception. Halick says, every time the

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undiscerns unity amid variety, order, rhythm, proportion, or symmetry and

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esthetic emotion arises. The traveler with a trained intellect will

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see far more beauty than an ignorant one. In looking

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at a cathedral, a large part of the esthetic enjoyment

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comes from tracing out the symmetry, from comparing part with part.

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Not until this process is complete will the full beauty

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of the structure as a whole be perceived. If the

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traveler knows something of the medieval architecture before starting on

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his European trip, he will see far more beauty. The

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opposite of the esthetic, which we call the ugly, is

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the unsymmetrical, the disorderly, that in which we can discover

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no rhythm, plan or beauty. The element of associative suggestion

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also enters into the manifestation of esthetic emotional feeling. The

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mind accepts the suggestion of the beauty of certain styles

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of art, or the excellence of certain classes of music.

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There are fashions in art and music, as in clothes,

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and what is thought beautiful to day may be deemed

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hideous tomorrow. This is not entirely due to the evolution

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of taste, for in many cases the old fashions are

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revived and again deemed beautiful. There is, moreover, the effect

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of the association of the object of emotion with certain

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events or persons. This association renders a thing popular and

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therefore agreeable and beautiful for the time being. The suggestion

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in a story will often cause the beauty of a

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certain scene or the harmony of a certain piece of

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music to dawn upon thousands of persons. Some noted person

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sets the seal of approval upon a certain picture or

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musical composition, and lo the multitude calls it beautiful. It

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must not be supposed, however, that the crowd always counterfeits

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this sense of beauty and excellence which has been suggested

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to it. On the contrary, genuine aesthetic feeling often results

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from the discovery so made. There is style and fashion

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in the use of words, resulting from fashion, which gives

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rise to esthetic feelings regarding them. These feelings do not

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arise from a consideration of the nature of the object

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expressed by the word. Of two words designating the same thing,

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one causes disgust and the other at least passive tolerance.

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For instance, in speaking of the sensible moisture which is

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emitted from the pores of the skin, we may use

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either of the respective terms sweat or perspiration both mean

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the same thing and have an equally respectable origin. But

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to many persons the word sweat causes an unpleasant aesthetic emotion,

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while a word perspiration is accepted without remonstrance. Some persons

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abhore the term vitils, while vans or food are accepted

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without protest. There is often an unpleasant, low vulgar association

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connected with some words, which accounts for the disfavor with

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which they are received, and which association is absent from

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the more polite terms employed to indicate the same thing.

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But in other cases there is nothing but the simple

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suggestion of fashion and style to account for the esthetic

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acceptance or rejection. It is possible that some psychologists of

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the future will establish the truth of the theory now

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tentatively advanced by a few investigators, namely that taste and

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the sense of beauty depend almost entirely upon the element

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of suggestion manifested as association, influence of authority, habit, fashion, imitation, etc.

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It is known that the emotional nature is peculiarly liable

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to suggestion, and that tastes may be created or destroyed

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by repeated it suggestion. Under the most favorable circumstances. It

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is thought likely that if we could trace back to

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its roots every emotion of taste, we would find it

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arising from some associative, suggestive influence connected with another and

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more elemental class of emotions. Regarding the fact that there

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is no universal standard of taste or beauty, Halek says,

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it has been said that esthetics cannot be created in

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a scientific way because there is no standard of taste.

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De gustibus non es dysputandum there is no disputing about

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tastes is an old proverb of two equally intelligent persons.

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One may like a certain book, the other dislike it.

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While it is true that the standard of taste is

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a varying one within certain limits, it is no more

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so than that of morals. As men's nervous systems, education,

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and associations differ, we may scientifically conclude wo that their

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tastes must differ. The greater the uniformity in the factors,

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the less does the product vary. On the other hand,

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within certain limits, the standard of esthetics is relatively uniform.

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It is fixed by the majority of intelligent people of

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any age and country. To estimate the standard by which

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to judge of the correctness of a language, or of

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the literary taste of any era, we examine the conversations

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of the best speakers the works of the standard writers.

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The esthetic emotions may be developed and cultivated by exercise

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and practice, and particularly by association and familiarity with beautiful

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things and with those who have good taste. Appreciation of

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beauty is more or less contagious up to a certain

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point of development, at least, and if one wishes to recognize, understand,

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and appreciate beauty, he should go where beauty is and

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where its votaries are gathered. The study of standard works

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of art or object of nature, or the best productions

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of the composers of music, will do much to develop

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and unfold one's high esthetic feelings and understanding. It is

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claimed by some of the best authorities that to develop

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the finer and higher aesthetic feelings and understanding, we must

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learn to find beauty and excellence in things removed from

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ourselves or our selfish interests. The narrow, selfish emotions kill

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the esthetic feelings. The two cannot exist together. The persons

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whose thoughts are centered on himself or herself very rarely

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finds beauty or excellence in works of art or music.

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Grant Allen Well sums up the subject in the following words.

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Good taste is a progressive product of progressing fineness and

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discrimination in the nerves, educated attention, high and noble emotional constitution,

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and increasing intellectual faculties. One of Chapter sixteen, Chapter seventeen,

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the intellectual emotions, by the intellectual emotions is meant that

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class of emotional feeling resulting from the presence of objects

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of intellectual interest. This class of emotions depends for its

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satisfaction upon the exercise of the intellectual faculties, from the

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most simple to the most complex, and including perception, memory, imagination, reason, judgment,

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and all the logical faculties. Those who are accustomed to

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employing the mind through voluntary attention, particularly in the direction

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of creative ideation or constructive imagination, experience these emotions to

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a greater or less degree. The exercise of perception, if

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we are skilled therein gives us a pleasurable feeling, and

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if we succeed in making an interesting or important discovery

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by reason thereof, we experience a strong degree of emotional satisfaction. Likewise,

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we experience agreeable feelings when we are able to remember

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distinctly something which might well have been forgotten, or when

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we succeed in recalling something which had escaped our memory

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for the moment. In the same way, the exercise of

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the imagination is a source of great pleasure in many cases,

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in the direction of writing, planning, inventing, or other creative processes,

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or even in the building of air castles. The exercise

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of the logical faculties gives great pleasure to those in

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whom these faculties are well developed. Halleck Well says there

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is probably not a happier moment in Newton's life than

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when he has succeeded in demonstrating that the same power

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which caused the apple to fall held the moon and

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the planets in their orbits. When what discovered the steam

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might be harnessed like the horse, when an inventor succeeds

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in perfecting a labour lightening device, whenever an obscurity is

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cleared away, the reason for a thing understood, and a

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baffling instance brought under a general law. Intellectual emotion results

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the pleasurable feelings we experience upon the reading of a

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good book or the discovery of real poetry are forms

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of intellectual emotion. The same class of emotional feeling is

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aroused when we witness a good play. Among other instances

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of this class, we mention a perception of clever work

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of any kind, intricate machinery, ingenious devices, helpful improvements, or

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other works of man which indicate the existence of thought

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and inventive ability in the designer or builder. To appreciate

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mental work of this kind, we must bring a mind

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developed along the same or similar lines. It has well

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been said that before one can take away anything from

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a book, he must bring something to it. It takes

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mentality to recognize and appreciate mentality or the work of

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menas mentality. The study of scientific subjects is a source

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of great pleasure to those who are inclined to such pursuits.

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To the scientific mind, the study of the latest work

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on a favorite branch gives a joy which nothing else

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is capable of arousing. To the philosopher, the works of

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other philosophers of the same skool give intense satisfaction. It

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is claimed that the sense of humour and wit is

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an intellectual emotion, for it depends upon the detection of

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the ludicrous features of a happening. Certain psychologists have held

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that the distinctive element of humour is a feeling attendant

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upon the perception of incongruity, while that of wit is

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the feeling of superiority on the part of the witty

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person and a corresponding chagrin of the object of his wit.

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It would seem, however, that the appreciation of wit must

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depend upon the intellectual perception of cleverness of expression and

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the pleasure resulting from the discovery thereof. That the feeling

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of humour is aroused principally by reason of the incongruous element.

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The feeling of self satisfaction, as contrasted with the discomfiture

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of the other person, belongs to the more selfish emotions.

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An authority says, humour is the mental faculty which tends

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to discover incongruous resemblances between things which essentially differ, or

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essential differences between things put forth as the same, the

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result being internal mirth or an outburst of laughter. Wit

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does so likewise, but the two are different. Humour has

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deep human sympathy and loves men while raising a laugh

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against their weaknesses. Wit is deficient in sympathy and there

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is often a sting in its ridicule somewhat contemptuous of mankind.

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It has not the patience to study them thoroughly, but

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must content itself with noting superficial resemblances or differences. Humour

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is patient and keenly observant, and penetrates beneath the surface.

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While therefore the sallies of Wit are often one sided

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and unfair, those of him are, as a rule just

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and wise. The development and cultivation of the intellectual emotions depend,

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of course upon education, training, exercise, and practice. The cultivation

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of the intellect, which has been referred to in part

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in the previous parts of this book, and which will

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again be considered in the chapters devoted to the intellect,

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results in the development and cultivation of the emotions accompanying

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intellectual effort. In a general way, however, it may be

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said that the reading of the best works of fiction, science,

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and philosophy will bring out, in time the best form

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of intellectual enjoyment and feeling. The highest gives the best.

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That is the rule. The present chapter should be read

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and studied in connection with those devoted to the intellect

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blended emotions. As we have said, at the beginning of

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our consideration of the subject of the emotions. The majority

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of emotions are composed of several feelings intend to lend

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and combine emotional elements. For instance, the emotion of sexual

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love certainly has its origin in instinctive feelings of the race,

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and its motive element is that of passion. But passion

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is far from being all their ears in human sexual love.

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Above the plane of passion is found the social emotion

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of companionship, protection and care, the desire for the welfare

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of the loved one, the mingling of the love of

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the parent with that of the mate. Human love manifests

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many of the altruistic emotions. During its course. The welfare

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of the loved one becomes the chief concern of life,

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often stronger even than self preservation. The joy of the

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loved one becomes the greatest joy, far surpassing the more

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selfish forms of happiness. Then come the esthetic feeling, which

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find satisfaction in the two liking the same things. Sympathy

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and community of feeling being the connecting link the several

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ideals of the two combining there is produced an idealistic union,

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which is often called spiritual harmony. Finally, there is found

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the blending of the intellectual emotions, in which harmony there

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exists one of the highest forms of pleasure, satisfaction between

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two persons of opposite sexes. It is said that the

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more things that a man and woman like in common,

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the closer will be their liking for each other. I

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love you because you love the things I love is

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no rare thought and expression. So it is seen that,

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though born in elemental instinct and passion, human sexual love

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is something far different in its flowering, and yet without

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its root it would not be and cannot be. This

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is an excellent example of the complex nature of the

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most common emotions. It may be used as a typical illustration.

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What is true of it is also true in a

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way and in a degree, of every other form of emotion. Therefore,

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in studying a particular emotion, be not too quick to

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cry it is this, it is that, but rather seek

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to say it is composed of this and that. Few,

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if any, emotions are simple. The majority are very complex.

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Hence the difficulty of satisfactory classification and the danger of

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dogmatic definition.