The term Admiration.—The feeling awakened by the perception of the beautiful, like some other feelings of which we are conscious, has not a name that precisely designates it; hence the expression—ambiguous, and, therefore, objectionable—emotions of beauty, employed by certain writers to denote the feeling in question. The word admiration, though often used in a somewhat wider sense, perhaps more nearly expresses the emotion to which I refer, than any other word in our language. We are surprised at what is new and strange. We admire what is beautiful and sublime. The feeling is one of pure and unalloyed pleasure, mingled with more or less of wonder or surprise, in case the object contemplated is one which is new to us, or one of rare and surpassing beauty. As the beautiful has its opposite—the deformed or ugly—so the feeling which it awakens stands contrasted with an opposite emotion, viz., disgust.
In connection with this form of sensibility, there are some questions requiring consideration.
Whether the Emotion is immediate.—It is a question somewhat debated, whether the emotions awakened by the beautiful and sublime are immediate, or reflective; whether they spring up at once on perception of the object, or only as the result of reflection and reasoning. Those who maintain that beauty consists in utility, or in order and proportion, fitness, unity with variety, etc., must, of course, regard the emotions awakened by it as not immediate, since, according to their theory, time must be allowed for the understanding to convince itself, in the first place, that the object is useful, etc. The qualities constituting the beauty must be first apprehended by the mind as existing in the object, before there can be emotion, and to do this is the work of reflection. If, however, beauty is but the expression of the invisible under the visible and sensible forms, then all that is necessary to produce emotion is simply the perception of the object thus expressive, since the moment it is perceived, it is perceived as expressing something, and thus, appealing to our own spiritual nature, awakens immediate emotion.
How to be decided.—The question must be decided by the observation of facts, and the result will constitute an additional argument in favor of one, or the other, of the general views of the beautiful now named. What then are the facts in the case, as given by consciousness, and observation?
Testimony of Consciousness.—So far as I can judge, no sooner do we find ourselves in presence of a beautiful object than we are conscious of emotions of pleasure. There is no previous cross-questioning of the object to find out whether it is adapted to this or that useful end, or whether the rules of order, and proportion, are observed in its construction. Before we have time to think of these things, the sensibility has already responded to the appeal which beauty ever makes to our sensitive nature, and the first distinct fact of which we are conscious is an emotion of pleasure.
Effect of Repetition.—Consciousness assures us, more over, that the pleasure is usually quite as vivid at the first sight of a beautiful object as ever after, which would indicate that it is not the result of reflection. In truth, repetition is found, in most cases, to weaken the emotion, and familiarity may even destroy it. Yet every repetition adds to our opportunity for observation and reflection, and strengthens our conviction of the utility, the order, the fitness, the proportion, of that which we observe.
Critical Reflection subsequent to Emotion.—It seems evident, moreover, that whatever reflections of this nature we may choose to indulge, are uniformly subsequent to the first emotion of pleasure and delight, to the first impression made upon us by the beauty of the object—after-thoughts readily to be distinguished from those first impressions—and that they are usually the result of a special volition to inform ourselves as to these matters; whereas the emotion is spontaneous and involuntary. Doubtless a pleasure arises from the perception of the qualities referred to, but it is a pleasure of another kind from that which arises in view of the beautiful, as such. We must think, then, that the emotions awakened by the beautiful are immediate, not reflective.
Further Question.—Closely allied to the preceding is the question, Which precedes the other, the emotion which a beautiful object awakens, or the judgment of the mind that the object is beautiful. Logically, doubtless, the two things may be distinguished, but not, perhaps, in order of time. No sooner is the object perceived, than it is both perceived and felt to be beautiful. The emotion awakened and the mental affirmation, "That is beautiful," are both immediate on the perception of the object, synchronous events, so far as concerns at least our ability to distinguish between them in point of time.
Logically, Emotion precedes.—In point of logical relation, the emotion, I think, must be allowed the precedence, although so high an authority as Kant decides otherwise. Had we no emotion in view of the beautiful, we should not know that it was beautiful. As, universally, sensation is the indispensable condition of perception, and logically, at least, its antecedent, so here the feeling of the beautiful is the condition and source of the perception of the beautiful. The object strikes us as being so, moves us, affects us, produces on us the impression, and hence we say, "That is beautiful." Had we no susceptibility of emotion in view of the beautiful, it may be seriously questioned whether we should ever have the perception or impression that any given object is beautiful.
The Beautiful as distinguished from the Sublime.—There is still another point deserving attention. In discussing the æsthetic emotions, we have spoken as yet only of the feeling awakened by the beautiful. How do these emotions differ—in degree merely—or in nature?