The Moral Economy

by Ralph Barton Perry

We will fall down and worship him as a sweet and holy and wonderful being; but we must also inform him that there is no place for such as he is in our State—the law will not allow them. And so when we have anointed him with myrrh, and set a garland of wool upon his head, we shall send him away to another city.[8]

But there is another way of protecting society from whatever may be the evil effects of art, and that is to educate the individual and the {191} community in their use of art. This would mean, in place of a regulation of the supply, a regulation of the demand. It would mean that the aesthetic interest itself, like every other interest within the moral economy, should be so controlled as to make it as conducive as possible to health and abundance of life. The exercise or cultivation of the interest in art would then, like the love of nature or of social intercourse, be unlimited so far as its objects were concerned, but limited through its relation to other interests within the individual or community purpose. But with this difference concerning the proper remedy, the present inquiry will coincide in its intent and presuppositions with that model of all moral criticisms, the Republic of Plato. What are the possibilities for life of this aesthetic interest or love of art? How is it liable to abuse or excess? What is its bearing on other interests, and how far does it tend to make life gracious and happy, without destroying its balance or compromising its truth? These are the questions on which I hope that I may be able to throw some light by calling attention to the following characteristics possessed by the aesthetic interest: self-sufficiency, pervasiveness, vicariousness, stimulation of action, fixation of ideas, and liberality.[9]

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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.

IV

The aesthetic interest is the good genius of the powers of apprehension, making them fruitful in their own kind. Now the powers of apprehension are engaged during all the waking hours, and if they can be taught to mediate a good of their own, that good will pervade the whole of life. It is through the cultivation of the aesthetic interest that there is most hope of redeeming the waste places, of giving to intervals and accidental juxtapositions some graciousness and profit. With all the world to see and contemplate, and with the eye and mind wherewith to contemplate them, there is a limitless abundance of good things always and everywhere available. Let me quote Arthur Benson's account of this discovery:

The world was full of surprises; trees drooped their leaves over screening walls, houses had backs as well as fronts; music was heard from shuttered windows, lights burned in upper rooms. There were a thousand pretty secrets in the ways of people to each other. Then, too, there were ideas, as thick as sparrows in an ivied wall. One had but to clap one's hands and cry out, and there was a fluttering {195} of innumerable wings; life was as full of bubbles, forming, rising into amber foam, as a glass of sparkling wine.[12]