THE PROBLEM OF EVIL IN AESTHETICS, AND ITS SOLUTION THROUGH THE TRAGIC,
PATHETIC, AND COMIC


When, in our third chapter, we defined the purpose of art, we indicated
that it was broad enough to include the expression of evil, but we did
not show in detail how this was possible. That is our present theme.

Art is sympathetic representation; the effort not only to reveal an
object to us, but to unite us with it. The artist finds no difficulty
in accomplishing this purpose with reference to one class of
objects--those which, apart from portrayal, we call beautiful. To these
we are drawn immediately because they serve directly the ends of life.
Nature sees to it that we dwell with pleasure on the sight of healthy
children, well-grown women, and bountiful landscapes. And to the
representations of such objects we are attracted by the same instincts
that attract us to the things themselves. No special power of art is
required that we take delight in them; the task of the artist is half
accomplished before he begins. Yet the scope of art is wider than this,
for it represents evil as well as good. Death as well as life, sickness
and deformity as well as health, suffering as well as joy, sin equally
with goodness, come within its purview. And these also it not only
reveals to us but makes good to know, so good in fact that they are
perhaps the preferred objects of artistic representation. But instead
of being able to rely on instincts that would draw us to these objects,
art has to overcome those that would lead us away from them. It has
to conquer our natural horror at death, pain at suffering, and revulsion
against wickedness. How does it? That is the problem of evil in
sthetics.