However deceptive these complications may prove to men of action and eloquence, they ought not to impose on the critic of human nature. Evidently what value general goods do not derive from the particular satisfactions they stand for, they possess in themselves as ideas pleasing and powerful over the imagination. This intrinsic advantage of certain principles and methods is none the less real for being in a sense aesthetic. Only a sordid utilitarianism that subtracts the imagination from human nature, or at least slurs over its immense contribution to our happiness, could fail to give these principles the preference over others practically as good.
If it could be shown, for instance, that monarchy was as apt, in a given case, to secure the public well-being as some other form of government, monarchy should be preferred, and would undoubtedly be established, on account of its imaginative and dramatic superiority. But if, blinded by this somewhat ethereal advantage, a party sacrificed to it important public interests, the injustice would be manifest. In a doubtful case, a nation decides, not without painful conflicts, how much it will sacrifice to its sentimental needs. The important point is to remember that the representative or practical value of a principle is one thing, and its intrinsic or aesthetic value is another, and that the latter can be justly counted only as an item in its favour to be weighed; against possible external disadvantages. Whenever this comparison and balancing of ultimate benefits of every kind is angrily dismissed in favour of some absolute principle, laid down in contempt of human misery and happiness, we have a personal and fantastic system of ethics, without practical sanctions. It is an evidence that the superstitious imagination has invaded the sober and practical domain of morals.
Aesthetic and physical pleasure.
§ 7. We have now separated with some care intellectual and moral judgments from the sphere of our subject, and found that we are to deal only with perceptions of value, and with these only when they are positive and immediate. But even with these distinctions the most remarkable characteristic of the sense of beauty remains undefined. All pleasures are intrinsic and positive values, but all pleasures are not perceptions of beauty. Pleasure is indeed the essence of that perception, but there is evidently in this particular pleasure a complication which is not present in others and which is the basis of the distinction made by consciousness and language between it and the rest. It will be instructive to notice the degrees of this difference.
The bodily pleasures are those least resembling perceptions of beauty. By bodily pleasures we mean, of course, more than pleasures with a bodily seat; for that class would include them all, as well as all forms and elements of consciousness. Aesthetic pleasures have physical conditions, they depend on the activity of the eye and the ear, of the memory and the other ideational functions of the brain. But we do not connect those pleasures with their seats except in physiological studies; the ideas with which aesthetic pleasures are associated are not the ideas of their bodily causes. The pleasures we call physical, and regard as low, on the contrary, are those which call our attention to some part of our own body, and which make no object so conspicuous to us as the organ in which they arise.
There is here, then, a very marked distinction between physical and aesthetic pleasure; the organs of the latter must be transparent, they must not intercept our attention, but carry it directly to some external object. The greater dignity and range of aesthetic pleasure is thus made very intelligible. The soul is glad, as it were, to forget its connexion with the body and to fancy that it can travel over the world with the liberty with which it changes the objects of its thought. The mind passes from China to Peru without any conscious change in the local tensions of the body. This illusion of disembodiment is very exhilarating, while immersion in the flesh and confinement to some organ gives a tone of grossness and selfishness to our consciousness. The generally meaner associations of physical pleasures also help to explain their comparative crudity.
The differetia of aesthetic pleasure not its disinterestedness.
§ 8. The distinction between pleasure and the sense of beauty has sometimes been said to consist in the unselfishness of aesthetic satisfaction. In other pleasures, it is said, we gratify our senses and passions; in the contemplation of beauty we are raised above ourselves, the passions are silenced and we are happy in the recognition of a good that we do not seek to possess. The painter does not look at a spring of water with the eyes of a thirsty man, nor at a beautiful woman with those of a satyr. The difference lies, it is urged, in the impersonality of the enjoyment. But this distinction is one of intensity and delicacy, not of nature, and it seems satisfactory only to the least aesthetic minds.[1]