The Principles of Aesthetics by Dewitt H. Parker
page 91 of 330 (27%)
page 91 of 330 (27%)
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There are many means by which this problem is solved. In the first
place, the mere fact that art is representation and not reality does much toward overcoming any feelings of moral or physical repugnance we might have toward the objects represented. These feelings exist for the sake of action; hence, when action is impossible--and we cannot act on the unreal--although they may still persist, they become less strong. Toward the merely imaginary, the practical and moral attitudes, which towards the real would lead to condemnation and withdrawal, lose their relevance and tend to disappear. That is one of the advantages of art over the more immediate perception of life. It is difficult to take a purely aesthetic attitude towards all of life, to seek only to get into sympathetic contact with it for the sake of an inner realization of what it is; much of it touches us too closely on the side of our practical and moral interests. A certain man, for example, does not belong to our set, or his ways are so bohemian that it would imperil our social position or the safety of our souls to get acquainted with him; so we reject him and cast him into the outer darkness of our disapproval--or he rejects us. Such a person, we feel, is to be avoided or haply, if we be saints, to be saved from himself; but not to be accepted and understood. And even if we succeed in freeing ourselves from the moral point of view, we are still preoccupied with the practical, if the man happens to interest us commercially; we have not the time nor the desire to see his nature as a whole. Not so in art. As a character in a novel, a man cannot be employed; nor can it be a hazard to keep company with him; and his soul is surely beyond our saving; the only thing left for us to do is to sympathize with and try to understand him, to enter into communion with his spirit. By freeing life from the practical and moral, art gives the imagination full sway. This, to be sure, is only a negative force working in the direction of beauty, yet is important none the less because it enables the more |
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