III
It has long been pointed out that the aesthetic interest, unlike the bodily appetites, is self-sufficient, in that it is capable of being evenly sustained. It depends on no antecedent craving, and has no definite periodic limit of satiety. It engages the capacities that are, on the whole, the most docile and the least liable to progressive fatigue, while through its own internal variety it is guarded against monotony. Consequently the aesthetic interest is peculiarly capable of being continued and developed through a lifetime, providing a constant and increasing source of satisfaction.
Furthermore, the aesthetic interest is resourceful, easily supplying itself with the objects which it uses. It follows that it contributes to independence, being like the "speculative activity" of Aristotle,[10] in giving the individual a means of happiness in himself without the aid of his fellows or the favor of fortune. Since the aesthetic interest is in these ways self-sufficient, its continuous return of good being guaranteed, it is one of the safest of investments.
But every special interest is a source of danger in direct proportion to its isolation. Its very self-sufficiency may serve to promote a narrow concentration, a blindness to ulterior interests {193} and wider possibilities. This undue dwelling on the given material of life may, as we have seen in an earlier chapter, attach to any interest; but the aesthetic interest is peculiarly liable to it. This is due to the fact that, in so far as an object appeals to the aesthetic interest, it tends not to develop, but to retain some fixed aspect in which the apprehension of it is agreeable. The various practical interests ramify indefinitely through the dynamic relations of objects, and through the handling of objects common to a variety of interests. Once engaged in what is called "active life" one tends to be drawn into the main current of enterprise and made aware of the larger issues. And the theoretical interest also tends to lead beyond itself; for it prompts the mind to examine the whole nature of objects, and to explore their context without limit in the hope of completer truth. But the aesthetic interest readily acquires equilibrium, and feels no inducement to leave off an activity which, though its limits may be narrow, is free and continuous within them. Plato accused art of being essentially imitative, and so of confirming the vulgar respect for the surface aspect of things.[11] It is truer, I think, to say that the aesthetic interest is quiescent, tending to perpetuate experience in any form that is found pleasant, and without respect either to practical exigencies or to the order of truth. {194} Hence this interest on account of its very self-sufficiency offers a passive resistance to the formal principles of moral organization—to prudence, purpose, justice, and good-will.