The qualities of a work of art, the conditions it must fulfil, are those already enumerated in regard to beauty generally. It must have unity, order, proportion of parts; it must be true to nature, not in the sense of a mere copy, but in the sense of drawing its inspiration from nature, and so helping us to understand and appreciate the beauties of nature; it must display a power and clearness of expression adjusted to the capacity of the normal mind.
We may add—as indicating the connexion of art with morality—that [pg 205] the work of art must not be such as to excite disapproval or cause pain by shocking any normal faculty, or running counter to any fundamental belief, sympathy, sentiment or feeling, of the human mind. The contemplation of the really beautiful, whether in nature or in art, ought per se to have an elevating, ennobling, refining influence on the mind. But the beautiful is not the good; nor does the cultivation of the fine arts necessarily enrich the mind morally. From the ethical point of view art is one of those indifferent things which the will can make morally good or morally evil. Since man is a moral being, no human interest can fall outside the moral sphere, or claim independence of the moral law; and art is a human interest. Neither the creator, nor the critic, nor the student of a work of art can claim that the latter, simply because it is a work of art, is neither morally good nor morally bad; or that he in his special relation to it is independent of the moral law.
Under the specious plea that science in seeking truth is neither positively moral nor positively immoral, but abstracts altogether from the quality of morality, it is sometimes claimed that, a pari, art in its pursuit of the beautiful should be held to abstract from moral distinctions and have no concern for moral good or evil. But in the first place, though science as such seeks simply the true, and in this sense abstracts from the good and the evil, still the man of science both in acquiring and communicating truth is bound by the moral law: he may not, under the plea that he is learning or teaching truth, do anything morally wrong, anything that will forfeit or endanger moral rectitude, whether in himself or in others. And in the second place, owing to the different relations of truth and beauty to moral goodness, we must deny the parity on which the argument rests. Truth appeals to the reason alone; beauty appeals to the senses, the heart, the will, the passions and emotions: “Pulchrum trahit ad se desiderium”. The scientist expresses truth in abstract laws, definitions and formulas: a law of chemistry will help the farmer to fertilize the soil, or the anarchist to assassinate sovereigns. But the artist expresses beauty in concrete forms calculated to provoke emotions of esthetic enjoyment from the contemplation of them. Now there are other pleasure-giving emotions, sensual and carnal emotions, the indiscriminate excitement and unbridled indulgence of which the moral law condemns as evil; and if a work of art be of such a kind that it is directly calculated to [pg 206] excite them, the artist stands condemned by the moral law, and that even though his aim may have been to give expression to beauty and call forth esthetic enjoyment merely. If the preponderating influence of the artist's work on the normal human individual be a solicitation of the latter's nature towards what is evil, what is opposed to his real perfection, his moral progress, his last end, then that artist's work is not a work of art or truly beautiful. The net result of its appeal being evil and unhealthy, it cannot be itself a thing of beauty.
“Art for art's sake” is a cry that is now no longer novel. Taken literally it is unmeaning, for art is a means to an end—the expression of the beautiful; and a means as such cannot be “for its own sake”. But it may signify that art should subserve no extrinsic purpose, professional or utilitarian; that it should be disinterested; that the artist must aim at the conception and expression of the beautiful through a disinterested admiration and enthusiasm for the beautiful. In this sense the formula expresses a principle which is absolutely true, and which asserts the noble mission of the artist to mankind. But the formula is also commonly understood to claim the emancipation of the artist from the bonds of morality, and his freedom to conceive and express beauty in whatever forms he pleases, whether these may aid men to virtue or solicit them to vice. This is the pernicious error to which we have just referred. And we may now add that this erroneous contention is not only ethically but also artistically unsound. For surely art ought to be based on truth: the artist should understand human nature, to which his work appeals: he should not regard as truly beautiful a work the contemplation of which will produce a discord in the soul, which will disturb the right order of the soul's activities, which will solicit the lower faculties to revolt against the higher; and this is what takes place when the artist ignores moral rectitude in the pursuit of his art: by despising the former he is false to the latter. He fails to realize that the work of art must be judged not merely in relation to the total amount of pleasure it may cause in those who contemplate it, but also in relation to the quality of this pleasure; and not merely in relation to esthetic pleasure, but in relation to the total effect, the whole concrete influence of the work on all the mental faculties. He fails to see that if this total influence is evil, the work that causes it cannot be good nor therefore really beautiful.
Are we to conclude, then, that the artist is bound to aim positively and always at producing a good moral effect through his work? By no means. Esthetic pleasure is, as we have said, indifferent. The pursuit of it, through the conception and expression of the beautiful, is the proper and intrinsic end of the fine arts, and is in itself legitimate so long as it does not run counter to the moral law. It has no need to run counter to the moral law, nor can it do so without defeating its own end. Outside its proper limits art ceases to be art; within its proper limits it has a noble and elevating mission; and it can serve indirectly but powerfully the interests of truth and goodness by helping men to substitute for the lower and grosser pleasures of sense the higher and purer esthetic pleasures which issue from the disinterested contemplation of the beautiful.
Chapter VIII. The Categories Of Being. Substance And Accident.
59. The Conception of Ultimate Categories.—Having examined so far the notion of real being itself, which is the proper subject-matter of ontology, and those widest or transcendental notions which are coextensive with that of reality, we must next inquire into the various modes in which we find real being expressed, determined, actualized, as it falls within our experience. In other words, we must examine the highest categories of being, the suprema genera entis. Considered from the point of view of the logical arrangement of our concepts, each of these categories reveals itself as a primary and immediate limitation of the extension of the transcendental concept of real being itself. Each is ultimately distinct from the others in the sense that no two of them can be brought under any other as a genus, nor can we discover any intermediate notion between any one of them and the notion of being itself. The latter notion is not properly a genus of which they would be species, nor can it be predicated univocally of any two or more of them ([2]). Each is itself an ultimate genus, a genus supremum.
By using these notions as predicates of our judgments we are enabled to interpret things, to obtain a genuine if inadequate insight into reality; for we assume as established in the Theory of Knowledge that all our universal concepts have real and objective validity, that they give us real knowledge of the nature of those individual things which form the data of our sense experience. Hence the study of the categories, which is for Logic a classification of our widest concepts, become for Metaphysics an inquiry into the modes which characterize real being.[215] By determining what these modes are, by studying their characteristics, by tracing them through the data of experience, we advance in our knowledge of reality.