Part 9 (1/2)

But our hold upon our thoughts extends even further. We not only construct visible unities and recognizable types, but remain aware of their affinities to what is not at the time perceived; that is, we find in them a certain tendency and quality, not original to them, a meaning and a tone, which upon investigation we shall see to have been the proper characteristics of other objects and feelings, a.s.sociated with them once in our experience. The hushed reverberations of these a.s.sociated feelings continue in the brain, and by modifying our present reaction, colour the image upon which our attention is fixed. The quality thus acquired by objects through a.s.sociation is what we call their expression. Whereas in form or material there is one object with its emotional effect, in expression there are two, and the emotional effect belongs to the character of the second or suggested one. Expression may thus make beautiful by suggestion things in themselves indifferent, or it may come to heighten the beauty which they already possess.

Expression is not always distinguishable in consciousness from the value of material or form, because we do not always have a distinguishable memory of the related idea which the expressiveness implies. When we have such a memory, as at the sight of some once frequented garden, we clearly and spontaneously attribute our emotion to the memory and not to the present fact which it beautifies. The revival of a pleasure and its embodiment in a present object which in itself might have been indifferent, is here patent and acknowledged.

The distinctness of the a.n.a.lysis may indeed be so great as to prevent the synthesis; we may so entirely pa.s.s to the suggested object, that our pleasure will be embodied in the memory of that, while the suggestive sensation will be overlooked, and the expressiveness of the present object will fail to make it beautiful.

Thus the mementos of a lost friend do not become beautiful by virtue of the sentimental a.s.sociations which may make them precious. The value is confined to the images of the memory; they are too clear to let any of that value escape and diffuse itself over the rest of our consciousness, and beautify the objects which we actually behold. We say explicitly: I value this trifle for its a.s.sociations. And so long as this division continues, the worth of the thing is not for us aesthetic.

But a little dimming of our memory will often make it so. Let the images of the past fade, let them remain simply as a halo and suggestion of happiness hanging about a scene; then this scene, however empty and uninteresting in itself, will have a deep and intimate charm; we shall be pleased by its very vulgarity. We shall not confess so readily that we value the place for its a.s.sociations; we shall rather say: I am fond of this landscape; it has for me an ineffable attraction. The treasures of the memory have been melted and dissolved, and are now gilding the object that supplants them; they are giving this object expression.

Expression then differs from material or formal value only as habit differs from instinct -- in its origin. Physiologically, they are both pleasurable radiations of a given stimulus; mentally, they are both values incorporated in an object. But an observer, looking at the mind historically, sees in the one case the survival of an experience, in the other the reaction of an innate disposition. This experience, moreover, is generally rememberable, and then the extrinsic source of the charm which expression gives becomes evident even to the consciousness in which it arises. A word, for instance, is often beautiful simply by virtue of its meaning and a.s.sociations; but sometimes this expressive beauty is added to a musical quality in the world itself. In all expression we may thus distinguish two terms: the first is the object actually presented, the word, the image, the expressive thing; the second is the object suggested, the further thought, emotion, or image evoked, the thing expressed.

These lie together in the mind, and their union const.i.tutes expression. If the value lies wholly in the first term, we have no beauty of expression. The decorative inscriptions in Saracenic monuments can have no beauty of expression for one who does not read Arabic; their charm is wholly one of material and form. Or if they have any expression, it is by virtue of such thoughts as they might suggest, as, for instance, of the piety and oriental sententiousness of the builders and of the aloofness from us of all their world. And even these suggestions, being a wandering of our fancy rather than a study of the object, would fail to arouse a pleasure which would be incorporated in the present image. The scroll would remain without expression, although its presence might have suggested to us interesting visions of other things. The two terms would be too independent, and the intrinsic values of each would remain distinct from that of the other. There would be no visible expressiveness, although there might have been discursive suggestions.

Indeed, if expression were const.i.tuted by the external relation of object with object, everything would be expressive equally, indeterminately, and universally. The flower in the crannied wall would express the same thing as the bust of Caesar or the _Critique of Pure Reason._ What const.i.tutes the individual expressiveness of these things is the circle of thoughts allied to each in a given mind; my words, for instance, express the thoughts which they actually arouse in the reader; they may express more to one man than to another, and to me they may have expressed more or less than to yon. My thoughts remain unexpressed, if my words do not arouse them in you, and very likely your greater wisdom will find in what I say the manifestation of a thousand principles of which I never dreamed. Expression depends upon the union of two terms, one of which must be furnished by the imagination; and a mind cannot furnish what it does not possess. The expressiveness of everything accordingly increases with the intelligence of the observer.

But for expression to be an element of beauty, it must, of course, fulfil another condition. I may see the relations of an object, I may understand it perfectly, and may nevertheless regard it with entire indifference. If the pleasure fails, the very substance and protoplasm of beauty is wanting. Nor, as we have seen, is even the pleasure enough; for I may receive a letter full of the most joyous news, but neither the paper, nor the writing, nor the style, need seem beautiful to me. Not until I confound the impressions, and suffuse the symbols themselves with the emotions they arouse, and find joy and sweetness in the very words I hear, will the expressiveness const.i.tute a beauty; as when they sing, _Gloria in excelsis Deo_.

The value of the second term must be incorporated in the first; for the beauty of expression is as inherent in the object as that of material or form, only it accrues to that object not from the bare act of perception, but from the a.s.sociation with it of further processes, due to the existence of former impressions. We may conveniently use the word ”expressiveness” to mean all the capacity of suggestion possessed by a thing, and the word ”expression” for the aesthetic modification which that expressiveness may cause in it.

Expressiveness is thus the power given by experience to any image to call up others in the mind; and this expressiveness becomes an aesthetic value, that is, becomes expression, when the value involved in the a.s.sociations thus awakened are incorporated in the present object.

_The a.s.sociative process._

- 49. The purest case in which, an expressive value could arise might seem to be that in which both terms were indifferent in themselves, and what pleased was the activity of relating them. We have such a phenomenon in mathematics, and in any riddle, puzzle, or play with symbols. But such pleasures fall without the aesthetic field in the absence of any objectification; they are pleasures of exercise, and the objects involved are not regarded as the substances in which those values inhere. We think of more or less interesting problems or calculations, but it never occurs to the mathematician to establish a hierarchy of forms according to their beauty. Only by a metaphor could he say that (a + b)2 = a2 + 2ab + b2 was a more beautiful formula than 2 + 2 = 4. Yet in proportion as such conceptions become definite and objective in the mind, they approach aesthetic values, and the use of aesthetic epithets in describing them becomes more constant and literal.

The beauties of abstract music are but one step beyond such mathematical relations -- they are those relations presented in a sensible form, and const.i.tuting an imaginable object. But, as we see clearly in this last case, when the relation and not the terms const.i.tute the object, we have, if there is beauty at all, a beauty of form, not of expression; for the more mathematical the charm of music is the more form and the less expression do we see in it. In fact, the sense of relation is here the essence of the object itself, and the activity of pa.s.sing from term to term, far from taking us beyond our presentation to something extrinsic, const.i.tutes that presentation. The pleasure of this relational activity is therefore the pleasure of conceiving a determined form, and nothing could be more thoroughly a formal beauty.

And we may here insist upon a point of fundamental importance; namely, that the process of a.s.sociation enters consciousness as directly, and produces as simple a sensation, as any process in any organ. The pleasures and pains of cerebration, the delight and the fatigue of it, are felt exactly like bodily impressions; they have the same directness, although not the same localization. Their seat is not open to our daily observation, and therefore we leave them disembodied, and fancy they are peculiarly spiritual and intimate to the soul. Or we try to think that they flow by some logical necessity from the essences of objects simultaneously in our mind.

We involve ourselves in endless perplexities in trying to deduce excellence and beauty, unity and necessity, from the describable qualities of things; we repeat the rationalistic fiction of turning the notions which we abstract from the observation of facts into the powers that give those facts character and being.

We have, for instance, in the presence of two images a sense of their incongruity; and we say that the character of the images causes this emotion; whereas in dreams we constantly have the most rapid transformations and patent contradictions without any sense of incongruity at all; because the brain is dozing and the necessary shock and mental inhibition is avoided. Add this stimulation, and the incongruity returns. Had such a shock never been felt, we should not know what incongruity meant; no more than without eyes we should know the meaning of blue or yellow.

In saying this, we are not really leaning upon physiological theory.

The appeal to our knowledge of the brain facilitates the conception of the immediacy of our feelings of relation; but that immediacy would be apparent to a sharp introspection. We do not need to think of the eye or skin to feel that light and heat are ultimate data; no more do we need to think of cerebral excitements to see that right and left, before and after, good and bad, one and two, like and unlike, are irreducible feelings. The categories are senses without organs, or with organs unknown. Just as the discrimination of our feelings of colour and sound might never have been distinct and constant, had we not come upon the organs that seem to convey and control them; so perhaps our cla.s.sification of our inner sensations will never be settled until their respective organs are discovered; for psychology has always been physiological, without knowing it. But this truth remains -- quite apart from physical conceptions, not to speak of metaphysical materialism -- that whatever the historical conditions of any state of mind may be said to be, it exists, when it does exist, immediately and absolutely; each of its distinguishable parts might conceivably have been absent from it; and its character, as well as its existence, is a mere datum of sense.

The pleasure that belongs to the consciousness of relations is therefore as immediate as any other; indeed, our emotional consciousness is always single, but we treat it as a resultant of many and even of conflicting feelings because we look at it historically with a view to comprehending it, and distribute it into as many factors as we find objects or causes to which to attribute it.

The pleasure of a.s.sociation is an immediate feeling, which we account for by its relation to a feeling in the past, or to cerebral structure modified by a former experience; just as memory itself, which we explain by a reference to the past, is a peculiar complication of present consciousness.

_Kinds of value in the second term._

- 50. These reflections may make less surprising to us what is the most striking fact about the philosophy of expression; namely, that the value acquired by the expressive thing is often of an entirely different kind from that which the thing expressed possesses. The expression of physical pleasure, of pa.s.sion, or even of pain, may const.i.tute beauty and please the beholder. Thus the value of the second term may be physical, or practical, or even negative; and it may be trans.m.u.ted, as it pa.s.ses to the first term, into a value at once positive and aesthetic. The transformation of practical values into aesthetic has often been noted, and has even led to the theory that beauty is utility seen at arm's length; a premonition of pleasure and prosperity, much as smell is a premonition of taste. The transformation of negative values into positive has naturally attracted even more attention, and given rise to various theories of the comic, tragic, and sublime. For these three species of aesthetic good seem to please us by the suggestion of evil; and the problem arises how a mind can be made happier by having suggestions of unhappiness stirred within it; an unhappiness it cannot understand without in some degree sharing in it. We must now turn to the a.n.a.lysis of this question.

The expressiveness of a smile is not discovered exactly through a.s.sociation of images. The child smiles (without knowing it) when he feels pleasure; and the nurse smiles back; his own pleasure is a.s.sociated with her conduct, and her smile is therefore expressive of pleasure. The fact of his pleasure at her smile is the ground of his instinctive belief in her pleasure in it. For this reason the circ.u.mstances expressive of happiness are not those that are favourable to it in reality, but those that are congruous with it in idea. The green of spring, the bloom of youth, the variability of childhood, the splendour of wealth and beauty, all these are symbols of happiness, not because they have been known to accompany it in fact, -- for they do not, any more than their opposites, -- but because they produce an image and echo of it in us aesthetically. We believe those things to be happy which it makes us happy to think of or to see; the belief in the blessedness of the supreme being itself has no other foundation. Our joy in the thought of omniscience makes us attribute joy to the possession of it, which it would in fact perhaps be very far from involving or even allowing.

The expressiveness of forms has a value as a sign of the life that actually inhabits those forms only when they resemble our own body; it is then probable that similar conditions of body involve, in them and in us, similar emotions; and we should not long continue to regard as the expression of pleasure an att.i.tude that we know, by experience in our own person, to accompany pain. Children, indeed, may innocently torture animals, not having enough sense of a.n.a.logy to be stopped by the painful suggestions of their writhings; and, although in a rough way we soon correct these crying misinterpretations by a better cla.s.sification of experience, we nevertheless remain essentially subject to the same error. We cannot escape it, because the method which involves it is the only one that justifies belief in objective consciousness at all. a.n.a.logy of bodies helps us to distribute and cla.s.sify the life we conceive about us; but what leads us to conceive it is the direct a.s.sociation of our own feeling with images of things, an a.s.sociation which precedes any clear representation of our own gestures and att.i.tude.

I know that smiles mean pleasure before I have caught myself smiling in the gla.s.s; they mean pleasure because they give it.

Since these aesthetic effects include some of the most moving and profound beauties, philosophers have not been slow to turn the una.n.a.lyzed paradox of their formation into a principle, and to explain by it the presence and necessity of evil. As in the tragic and the sublime, they have thought, the sufferings and dangers to which a hero is exposed seem to add to his virtue and dignity, and to our sacred joy in the contemplation of him, so the sundry evils of life may be elements in the transcendent glory of the whole.

And once fired by this thought, those who pretend to justify the ways of G.o.d to man have, naturally, not stopped to consider whether so edifying a phenomenon was not a hasty illusion. They have, indeed, detested any attempt to explain it rationally, as tending to obscure one of the moral laws of the universe. In venturing, therefore, to repeat such an attempt, we should not be too sanguine of success; for we have to encounter not only the intrinsic difficulties of the problem, but also a wide-spread and arrogant metaphysical prejudice.

For the sake of greater clearness we may begin by cla.s.sifying the values that can enter into expression; we shall then be better able to judge by what combinations of them various well-known effects and emotions are produced. The intrinsic value of the first term can be entirely neglected, since it does not contribute to expression. It does, however, contribute greatly to the beauty of the expressive object. The first term is the source of stimulation, and the acuteness and pleasantness of this determine to a great extent the character and sweep of the a.s.sociations that will be aroused. Very often the pleasantness of the medium will counterbalance the disagreeableness of the import, and expressions, in themselves hideous or inappropriate, may be excused for the sake of the object that conveys them. A beautiful voice will redeem a vulgar song, a beautiful colour and texture an unmeaning composition. Beauty in the first term -- beauty of sound, rhythm, and image -- will make any thought whatever poetic, while no thought whatever can be so without that immediate beauty of presentation.[14]

_Aesthetic value in the second term._