The Beautiful: An Introduction to Psychological Aesthetics — Vernon Lee
You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title : The Beautiful: An Introduction to Psychological Aesthetics Author : Vernon Lee Release date : October 17, 2008 [eBook #26942] Language : English Other information and formats : www.gutenberg.org/ebooks/26942 Credits : Produced by Ruth Hart *** START OF I have also made two spelling corrections: "chippendale" to "Chippendale" and "closely interpendent" to "closely interdependent."] THE BEAUTIFUL AN INTRODUCTION TO PSYCHOLOGICAL AESTHETICS BY VERNON LEE Author of "Beauty and Ugliness" "Laurus Nobilis" etc. Cambridge: at the University Press New York: G.P. Putnam's Sons 1913 With the exception of the coat of arms at the foot, the design on the title page is a reproduction of one used by the earliest known Cambridge printer, John Siberch, 1521 CONTENTS Preface and Apology v I. The Adjective "Beautiful" 1 II. Contemplative Satisfaction 8 III. Aspects versus Things 14 IV. Sensations 22 V. Perception of Relations 29 VI. Elements of Shape 35 VII. Facility and Difficulty of Grasping 48 VIII. Subject and Object, or, Nominative and Accusative 55 IX. Empathy ( Einfühlung ) 61 X. The Movement of Lines 70 XI. The Character of Shapes 78 XII. From the Shape to the Thing 84 XIII. From the Thing to the Shape 90 XIV. The Aims of Art 98 XV. Attention to Shapes 106 XVI. Information about Things 111 XVII. Co-operation of Things and Shapes 117 XVIII. Aesthetic Responsiveness 128 XIX. The Storage and Transfer of Emotion 139 XX. Aesthetic Irradiation and Purification 147 XXI. Conclusion (Evolutional) 153 Bibliography 156 Index 157 PREFACE AND APOLOGY I HAVE tried in this little volume to explain aesthetic preference, particularly as regards visible shapes, by the facts of mental science. But my explanation is addressed to readers in whom I have no right to expect a previous knowledge of psychology, particularly in its more modern developments. I have therefore based my explanation of the problems of aesthetics as much as possible upon mental facts familiar, or at all events easily intelligible, to the lay reader. Now mental facts thus available are by no means the elementary processes with which analytical and, especially experimental, psychology has dealings. They are, on the contrary, the everyday, superficial and often extremely confused views which practical life and its wholly unscientific vocabulary present of those ascertained or hypothetical scientific facts. I have indeed endeavoured (for instance in the analysis of perception as distinguished from sensation) to impart some rudiments of psychology in the course of my aesthetical explanation, and I have avoided, as much as possible, misleading the reader about such fearful complexes and cruxes as memory, association and imagination. But I have been obliged to speak in terms intelligible to the lay reader, and I am fully aware that these terms correspond only very approximately to what is, or at present passes as, psychological fact. I would therefore beg the psychologist (to whom I offer this little volume as a possible slight addition even to his stock of facts and hypotheses) to understand that in speaking, for instance, of Empathy as involving a thought of certain activities, I mean merely that whatever happens has the same result as if we thought ; and that the processes, whatever they may be (also in the case of measuring, comparing and co-ordinating), translate themselves, when they are detected, into thoughts; but that I do not in the least pre-judge the question whether the processes, the "thoughts," the measuring, comparing etc. exist on subordinate planes of consciousness or whether they are mainly physiological and only occasionally abutting in conscious resultants. Similarly, lack of space and the need for clearness have obliged me to write as if shape-preference invariably necessitated the detailed process of ocular perception, instead of being due, as is doubtless most often the case, to every kind of associative abbreviation and equivalence of processes. VERNON LEE Maiano near Florence, Easter 1913. CHAPTER I THE ADJECTIVE "BEAUTIFUL" THIS little book, like the great branch of mental science to which it is an introduction, makes no attempt to "form the taste" of the public and still less to direct the doings of the artist. It deals not with ought but with is, leaving to Criticism the inference from the latter to the former. It does not pretend to tell how things can be made beautiful or even how we can recognise that things are beautiful. It takes Beauty as already existing and enjoyed, and seeks to analyse and account for Beauty's existence and enjoyment. More strictly speaking, it analyses and accounts for Beauty not inasmuch as existing in certain objects and processes, but rather as calling forth (and being called forth by) a particular group of mental activities and habits. It does not ask: What are the peculiarities of the things (and the proceedings) which we call Beautiful? but: What are the peculiarities of our thinking and feeling when in the presence of a thing to which we apply this adjective? The study of single beautiful things, and even more, the comparison of various categories thereof, is indeed one-half of all scientific aesthetics, but only inasmuch as it adds to our knowledge of the particular mental activities which such "Beautiful" (and vice versa "Ugly") things elicit in us. For it is on the nature of this active response on our own part that depends the application of those terms Beautiful and Ugly in every single instance; and indeed their application in any instances whatsoever, their very existence in the human vocabulary. In accordance with this programme I shall not start with a formal definition of the word Beautiful,