Mental Philosophy: Including the Intellect, Sensibilities, and Will

by Joseph Haven

The first Element.—First of all, I am conscious of almost instant emotion in view of the object, an emotion of pleasure and delight. No sooner do my eyes rest upon the chiselled form that stands in faultless and wondrous beauty before me, than this emotion awakens. It springs into play, as a fountain springs out of the earth by its own spontaneous energy, or, as the light plays on the mountain tops, and flushes their snowy summits, when the sun rises on the Alps. It is by no volition of mine that this takes place.

A second Element.—Along with the emotion, there is another thing of which, also, I am conscious. Scarcely have my eyes taken in the form and proportions on which they rest with delight, scarcely has the first thrill of emotion, thus awakened, made itself known to the consciousness, when I find myself exclaiming, "How beautiful!" The soul says it; perhaps the lips utter it. If not an oral, it is, at least, a mental affirmation. The mind perceives, at a glance, the presence of beauty, recognizes its divinity, and pays homage at its shrine; not now the blind homage of feeling, merely, but the clear-sighted perception of the intellect, the sure decision of the understanding affirming, with authority 'That which thou perceivest and admirest is beautiful.' This is an act of judgment, based, however, on the previous awakening of the sensibility. I know, because I feel.

A third Element.—In addition to these, there may, or may not be, another phase of mental action. I may begin, presently, to observe, with a more careful eye, the work before me, and form a critical estimate of it, scan its outline, its several parts, its effect as a whole, ascertain its merits, and its defects as a work of art, study its design, its idea, and how well it expresses that idea, and fulfills that design. I seek to know what it is in the piece that pleases me, and why it pleases me. This may, or may not, take place. Whether it shall occur, or not, will depend on the state of the mind at the moment, the circumstances in which it is placed, its previous training and culture, its habits of thought. This, too, is an exercise of judgment, comparing, distinguishing, deciding; a purely intellectual process. It is not so much a new element, as a distinct phase of that last named. It is the mind deciding and affirming now, not merely that the object is beautiful, but in what and why it is so.

Uniformity of Results.—I change now the experiment. I repeat it. I place myself before other works, before works of other artists—works of the painter, the architect, the musician, the poet, the orator. Whatever is beautiful, in art or nature, I observe. I perceive, in all cases, the same results, the occurrence of essentially the same mental phenomena. I conclude that these effects are produced, not fortuitously, but according to the constitution of my nature; that they are not specific instances, but general laws of mental action; in other words, that the mind possesses a susceptibility of being impressed in this manner by such objects, and also a faculty of judging and discriminating as above described. To these two elements, essentially, then, do the mental phenomena occasioned by the presence of the beautiful, reduce themselves.

The Question.—Which, then, of these elements is it that answers to the idea of taste, as used to denote a power of the mind? Is it the susceptibility of emotion in view of the beautiful, the power of feeling; or is it the faculty of judging and discriminating; or is it both combined? Our definitions, as we have seen, include both; the word, itself, may denote either; both are comprised in our analysis of the mental phenomena in view of the beautiful.

Not the first.—Is it the first? I think not. Taste is not mere emotion, nor mere susceptibility of emotion. A child or a savage may be deficient in taste, yet they may be as deeply moved in view of the beautiful, in nature or art, as the man of cultivated mind; nay, their emotion may exceed his. They may regard, with great delight and admiration, what he will view with entire indifference. So far from indicating a high degree of taste, the very susceptibility of emotion, in such cases, may be the sure indication of a want of taste. They are pleased with that which a cultivated and correct taste would condemn. The power of being moved is simply sensibility, and sensibility is not taste, however closely they may be related.

Taste the intellectual Element.—Is taste, then, the power of mental discrimination which enables me to say that such and such things are, or are not, beautiful, and which, in some cases, perhaps, enables me to decide why, or wherein they are so? Does it, in a word, denote the intellectual rather than the emotional element of the process? I am inclined to think this the more correct view. Susceptibility of emotion is, doubtless, concerned in the matter. It has to do with taste. It may be even the ground and foundation of its exercise, nay, of its existence. But it is not, itself, taste, and should not be included, therefore, in the definition.

Reason for distinguishing the two.—As we distinguish, in philosophical investigation, between an emotion and the intellectual perception that precedes and gives rise to it, or between the perception and the sensation on which it is founded, so I would distinguish taste, or the intellectual perception of the beautiful, from the sensation or feeling awakened in view of the object. The fact that both elements exist, and enter into the series of mental phenomena in view of the beautiful, is no reason why they should both be designated by the same term, or included in the same definition, but, rather, it is a reason why they should be carefully distinguished.