Æsthetics

Author(s): Horatio Hubbell

Source: The Crayon, Vol. 6, No. 6 (Jun., 1859), pp. 165-167
Stable URL: http://www.jstor.org/stable/25527905
Accessed: 17-02-2018 04:53 UTC

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 T HVE CEAYON.
Part VI,

J. DURAND, EDITOR AND PROPRIETOR. PUBLICATION OFFICE, 373 BROADWAY.

JESTH?TICS. tents, the sun, for example, appears indeed as an absolute

necessary moment* while a casual thought, as accidental and
From the German of Hegel. Translated for the Crayon by Horatio Hubbell.
fleeting, disappears; but in itself considered, such a natural
UPON AESTHETICS IN GENERAL.
existence as the sun is indifferent, being not in itself free . ^
and self-conscious, and we contemplate it in its necessary
The subject-matter of aesthetics is, iu its widest sense,
the realm of the beautiful aud more approximative^, Art,connection with other things, aud do not. consider it for
and its dominion the Fiue Arts. itself alone, aud therefore not as beautiful.
If we now say, moreover, that the spirit and its Art'
As applied to this object, the term aesthetic is not, in
beauty stand higher than Nature-beauty, we do not by
fact, altogether suitable ; for esthetics, taken in its precise
this mode of expression, convey any precise meaning, for
sense, signifies the science of the senses, of the perceptibil
the term "higher "is an indeterminate expression, which:
ity, and it had, iu so far as it was a new science?or rather
as something that was about to be for the first time sub raises an idea of nature and Art-beauty as though they
jected to a philosophic discipline?its origin in the timewere
of in juxtaposition in space, aud thereby presents only a
the school of Wolfe, when the works of art began to quantitative,
be and consequently an external distinction. The "
considered in Germany with regard to their effect upon higher
the of the spirit and its Art-beauty as distinguished from
nature is, however, not only relative, but is. the truthful"of
sensibility, as, for example, the sensations of the agreeable,
of wonder, fright, pity, and so on. On account of the the spirit, comprehending all within itself, so that all beau
tiful
unsuitableness, or rather on account of the superficiality of is only the truthful beautiful, as participant of this,
this designation, other denominations?such, for instance, something called higher, aud generated by means thereof.
as Callistics?were suggested for this science. Yet thisIn this sense, nature-beauty appears only as a reflex of
was
seen to be unsatisfactory, for the science meant does not that beauty which belongs to the spirit, as an incomplete
and imperfect mode of being?a mode which, according to
contemplate the beautiful in general, but purely the beauti
ful of Art. We will therefore retain the term esthetic, its substance, is contained in the spirit itself ; besides, the
because as a mere name it is a matter of indifference torestriction
us; laid upon the term fine art will very naturally
and besides, it has become so incorporated in common occur to us, for although so much has been said about the
beauties of nature?less by the ancients than by us?r-yet t?
language, that it may be retained as an habitual designation.
The appropriate expression, however, for our science nois,
one has the idea suggested itself of developing a point of
view for the beauty of natural objects, and establishing a
" the Philosophy of Art," and, more precisely, " the Philo
sophy of the Fine Arts." science and systematic exhibition of this kind of beauty. ?
Through this expression we then exclude immediately point of view for practical usefulness has, indeed, been
from the science of Art-beauty that of Nature-beauty? brought out, and a science embracing those natural produc-?
tions which are useful in various maladies?in other words,
Such a limitation of our subject may appear as an arbitrary
determination, as if every science had the power to mark a materia medica has been prepared?a description of
minerals, chemical products, and natural productions par
out at will the extent of its circle. In this sense, however,
we must not limit aesthetics to the beautiful of Art. In
ticipating in the vegetable and animal qualities; but under
commou life, we are indeed accustomed to speak of a beau the aspect of mere beauty, nature has not been correlated
and
tiful color, a beautiful heaven, beautiful stream, and also of judged. We feel ourselves, as it regards nature
beauty, too much in the indeterminate, and without a crit?
beautiful flowers, beautiful animals?nay, more, of beautiful
rium, and on that account such a correlation would offer too *
human beings; still although we will not enter into a dispute
little
as to how far, with correctness, the quality of beauty is ap interest. ,
plicable to such objects, aud thereby Nature-beauty may beIf we restrict, however, our consideration, as a prelimi
ranged alongside of Art-beauty, yet we must, on the connary, to the beautiful in Art, we shall stumble immediately
at this first step upon new difficulties. The first thing,
trary, undoubtedly maintain that Art-beauty stands higher
namely, which in this respect will meet our minds is the
than Nature ; for Art-beauty is that beauty which is born
and born wgain of the spirit ; and in as far as the spirit
doubt whether fine art shows itself as worthy of a scientific
and its productions stand higher than nature and. hertreatment; for the Beautiful and Art show themselves, like
phenomena, by so much the more also is Art-beauty
a friendly genius, through all the business of life, and give a
higher thau the beauty of nature. Indeed, whenbrighter
for glow to all external and internal circumstantialities,
mally considered, some casual "thought even, such as they soften down the stern earnestness of our rela
while
passes through a man's head, stands higher than tions,
any the entangled complicity of the real; obviate idleness
product of nature, for in such a thought, the spiritual in an entertaining manner, and where they cannot bring about
and
free is always present. Considered according to its con
* The degree of the reality of a cause from a sensation.?Kant.

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 166_THE CBAYON,_
and the
what is good, occupy the place of evil?at true
least, manner of their conception. W
always
to this matter,
better than evil itself. Yet if Art also everywhere, from it may seem as though the f
the rude ornament of the savage to the splendor
nnworthy ofof the
a scientific consideration, because
temple adorned with all the riches of the a pleasing
beautiful,pastime,
mixes and even when they pur
object,
in everywhere with its pleasing forms, still these they contradict the nature of that o
very forms
fall short of the true end of existence; ra^andhowever, only in the service of that p
if these Art
earnestness
structures are not actually injurious to those may then stand subservient to i
earnest objects
of life, or even although sometimes by withholding
an element of evil
its ap
existence, and as a means of i
parently forward them, still Art must be avail itself of
considered as the
affidelusive and the apparent.
liated to the remissiveness or relaxation of Moreover, it may seem in the second pla
the spirit, while
while the
the substantial interests of life require rather fine arts afford matter for philos
its energetic
exertions. On this account it may seem, tion,
as if that
they which is suitable objects for scient
are not
not in itself of an earnest nature, could not be ; treated
tion with
for Art-beauty presents itself to the
ception,
scientific earnestness, without the appearance of the intuition, the imaginative pow
pedantry
and unsuitableness. Upon the whole, viewed then a in this man
different domain from thought, and th
ner, Art would seem a superfluity alongside of its of more and
activity sub products requires a differ
stantial requirements and interests, even although
scientific the
thinking. Further, it is precisely
relaxation of the mental power, which freedom
is produced by production
of the an and forms which w
attention devoted to the beautiful in objects,
beauty of should not we fly, upon their prod
Art, that
become injurious, as a means of enervating pearance,the soberseem, from all the fetter
it would
earnestness of those interests. Considering regulations.
all this, itFrom
has the stringency of'that
appeared absolutely necessary that the fine arts,
trolled bywhich,
laws andit the dark inwardness of tho
for rest
will be admitted, are a luxury, should be taken underand exhilaration in the creations of
protec
lively
tion, with respect especially in their relation and vigorous
to practical ne reality a refuge from
cessity, and more nearly to morality and piety,
realm of and
idea.since
Lastly, the source of the fine
its harmlessness is not demonstrable, to is at
theleast
freemake it of the fantasy, which, in i
activity
credible that this laxity of the spirit affords
power,a is
greater
freer sum
than nature itself. All the ric
of advantages than disadvantages. In this respect,
forms, an
in their multiplied variegation of app
earnest end has been accredited even to Art, and it
not only athas
thebeen
command of Art, but the cr
repeatedly recommended as the mediator thebetween reason
imagination can evolve therefrom its ow
and sensual perception, between inclination and duty,
productions. Atas a
this immeasurable fullness
and its
reconciler of these contending and opposing free-born
elements. Yet products, thought see
we may maintain, that in these sober ends of Art,
courage, and reason
shrinks from bringing them full
and duty have gained nothing by this attempt at mediation,
pronounce its judgments or arrange them un
formulae. of mixture,
because, from their very nature, being incapable
they will not favor the transaction, requiringScience, on thethe same
contrary, it is admitted, agreeably to its
purity which tney have inherently. Besides, Art has
form, is occupied here abstracted from the mass of
with thought
by become unworthy of scientific investigation,
individualities, because
from which,it on the one hand, the imagina
may always serve on two sides, and thus tivepromote idleness
power, with its fortuitous and arbitrary range, or in
and frivolity as higher ends, and, indeed, other
in this
words,service,
the organ ofinartistic activity and artistic en
stead of being an end for itself, may onlyareappear
joyment, as on
excluded ; and, a the other hand, when Art,
means. Finally, as to what regards the form of this
by enlivening, mean,
animates the light-lacking, and barren dry
it seems to present always a disadvantageous side, reconciles
ness of the apprehension, so its abstraction and
that when Art, in fact, applies itself to disseverance
earnestfrom objects, and
the reality, and completes or finishes out
produces earnest operations, the means that it employs
the apprehension from thefor reality; while indeed a mere
this purpose is delusion. For the beautiful
contemplationhas in its exist
thought again removes this means of com
ence in the apparent. Truthful ends, however, it willit,be
pletion itself, annihilates and carries the apprehension
readily acknowledged, must not be effected
back oncethrough delu
more to the reality-less simplicity, and its phan
sion, and if they obtain some furtherance thereby,
tom-like abstraction.this can to its constitution, science
Agreeably
only be the case here and there in a busies
limited itself way
with that; and
which is in itself necessary. If
' even then, delusion will not be considered as the
aesthetics should right
lay aside nature-beauty, we evidently, in
means. For the means should respond tothis the truth
aspect of would
of things, the not only gain nothing, but
end, and neither semblance nor deception,
would also but
separateonly the
ourselves still further from the neces
truthful is able to generate the truthful.
sary; So,
for thealso, science
expression Nature, conveys to us the idea of
has the substantial function of considering
necessitythe true inte
and subjection to legal regulation, aud thus it is
rests ?f the spirit, according to the true
thatmode
scientificof reality
consideration indulges the hope of being able

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 THE CKAYON. 167
' to approach her more nearly, and
and to express the godlike, that nature
the deepest interest of men, theherse
offer more opportunity for doing
all-comprehending truthsso. In soul.
of the human the In thehuman
works s
however, but more especially in the
of Art have nations imaginative
given proof of their richest internal pow
compared with nature, anintuitions
arbitrary
and ideas, and forrange of
the understanding feeling
of the wis
emption from the control of
dom and legal
religion rule,
of nations, appear
have the fine arts, oftentimespecul
at home ; and this, of itself,
and with manydoes away
people, afforded with
the only key. This deterall id
scientific foundation. mination has Art in common with religion and philosophy,
Under all these aspects, the
but still, fine
in a peculiar manner,arts
inasmuch as seem
it represents theas we
their origin as in their practical operation,
most refined elevation and
of the sensual perception, their
and brings
to show that so far from being
nature and its modeadapted to toscientific
of revealing itself nearer the senses
riousness, they rather, of and
themselves, resist
the perceptibility. It is the all regulari
depth of a transcendental
thought, and have no adaptation
world into which thought
to crowds
peculiarly
itself, and sets it upscientif
as a
vestigation. These and the like
coming future mode considerations
of existence in contradistinction to our oppo
a scientific occupation of immediate
our time consciousnesswith
and presentthe sensationsubject-m
it is the
of the fine arts, are drawnfreedomfrom the
of the thinking ideas,
comprehensibility whichmodes
takes away of
and considerations commonlyfrom this state of existence the realas
current; and the
to finite
theof the mor
sive elaboration of which one
senses. may
This breach, read
however, to the
through which satiety,
spirit
older, and especially French authors,
goes forth, it understands how whoto repair ;have
it generateswritte
out
the beautiful and the fine of
arts.
itself the work of fine art as the first reconciling mediate
- And in part, facts arc member
therein contained
between the mere external, the sensual,by
and thewhic
transitory,
justified, aud in part also, and between pure thought,
deductions are between
drawnnature and ther
that seem extremely plausible. Thus,
finite reality, and forof the
the infinite freedom example,
comprehending th
mind.
that the forms of the beautiful are as manifold as its
rition is generally diffused?whence, if denied, a g
(Tobe continued.)
propensity to the beautiful may be inferred to ex
human nature ; and the further consequence deduced
inasmuch as our ideas of the beautiful are so endlessl
Of the five senses which have been given to man, three
tiplied, and thereby havetaste,
something particular
smell, aud touch?are incapable of producing in us the or ind
alized in them, no general law
sentiment can
of beauty. Joined be given
to the other two, they mayas con to tast
the beautiful. Before we tribute
revert from
to the understanding such
of this sentiment; considera
but alone and
to our special subject, ourby themselves,
nextthey cannot produce it. Taste
business must judges of thebe to m
agreeable, not of the beautiful.
short introductory investigation of No sense
the is less doubts
allied to the and
soul, and more
tions that have been raised. As in the service of the body ; it flatters,
to.what, in the it serves first
relates to the worthiness the grossest
of ofArt all masters?the
to stomach.
beIf smell sometimes
scientificall
seems to participate in the sentiment of the beautiful, it is be
sidered, it is certainly the case that Art may be used
cause the odor is exhaled from an object that is already beauti
pastime for our pleasure ful,
and entertainment,
that is beautiful fur some other reason. Thus, the rose to
U ador
immediate vicinity, to render the external relations o
beautiful for its graceful form, for the varied splendor of its
pleasing, and by the effect of
colors; its odor isornament, to itbring
agreeable, it is not beautiful. Finally, .is ot
jects iuto relief. Under not
thistouch alone aspect, it ofis
that judges of the regularity forms,not
but touch indeed
pendent or free, but Art inby sight.
enlightened servitude. What we w
There remainin
consider is Art free, not only two senses
its to which all the world concedes
means, but the in its
That Art, moreover, mayprivilege
be ofsubservient
exciting in us the idea and the sentiment
to other of the end
beautiful. They sport,
thus become a mere way-side seem to be more particularly
is true; in the service of
and this
tion, moreover, it has iu the soul. The sensations which
common with they give have something
thought, whi
purer, more intellectual. They are less indispensable for the
the one hand, allows itself to be used as a subserv
material preservation of the individual. They contribute to the
science, conducive to finite ends and casual means, au
embellishment rather than to the sustaining of life. They pro
serviceable principle of intelligence, receives
cure us pleasures in which our personality its desti
seems less interested
not from itself, but from somethiug
and more self-forgetful. To these twoelse.
senses, then,So also from
Art should
service, distinct from particular
be addressed, is addressed,aims,
in fact, in orderit rises
to reach the soul. by its
Hence theinherent
energies, and in its own free division of arts into twopowers,
great classes?arts addressed
to the po
truth, and is independentlyto hearing, occupied
arts addressed to sight ; onwith
the one hand, music
its and own o
and ends. poetry; on the other, painting, with engraving; sculpture,
architecture, gardening.?Cousin.
In this, its freedom, is fine art for the first time true Art,
and then first fulfills its highest mission, when it ranges it It is false to assert that equality is a law of nature. Nature
self in a common circle with religion and philosophy, and makes nothing equal ; its sovereign law is subordination and
then becomes a mode and means to make us conscious of dependence.? Vauvenargues.

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