Aesthetics

The abuse of the beautiful and the encroachments of imagination, when, having only the casting vote, it seeks to grasp the law-giving sceptre, has done great injury alike in life and in science. It is therefore highly expedient to examine very closely the bounds that have been assigned to the use of beautiful forms. These limits are embodied in the very nature of the beautiful, and we have only to call to mind how taste expresses its influence to be able to determine how far it ought to extend it. The following are the principal operations of taste; to bring ...

"Man is never obliged to say, I must—must," says the Jew Nathan [Lessing's play, "Nathan the Wise," act i. scene 3.] to the dervish; and this expression is true in a wider sense than man might be tempted to suppose. The will is the specific character of man, and reason itself is only the eternal rule of his will. All nature acts reasonably; all our prerogative is to act reasonably, with consciousness and with will. All other objects obey necessity; man is the being who wills. It is exactly for this reason that there is nothing more inconsistent with the ...

The state of passion in itself, independently of the good or bad influence of its object on our morality, has something in it that charms us. We aspire to transport ourselves into that state, even if it costs us some sacrifices. You will find this instinct at the bottom of all our most habitual pleasures. As to the nature itself of the affection, whether it be one of aversion or desire, agreeable or painful, this is what we take little into consideration. Experience teaches us that painful affections are those which have the most attraction for us, and thus that ...

[ First published in The Leader for April 15, and May 13, 1854. ] It is a common opinion that beauty of character and beauty of aspect are unrelated. I have never been able to reconcile myself to this opinion. Indeed, even those who hold it do so in an incomplete sense; for notwithstanding their theory they continue to manifest surprise when they find a mean deed committed by one of noble countenance—a fact implying that underneath their professed induction lies a still living conviction at variance with it. Whence this conviction? How is it that a belief in the ...

I call vulgar (common) all that does not speak to the mind, of which all the interest is addressed only to the senses. There are, no doubt, an infinite number of things vulgar in themselves from their material and subject. But as the vulgarity of the material can always be ennobled by the treatment, in respect of art the only question is that relating to the vulgarity in form. A vulgar mind will dishonor the most noble matter by treating it in a common manner. A great and noble mind, on the contrary, will ennoble even a common matter, and ...

The poet is a satirist when he takes as subject the distance at which things are from nature, and the contrast between reality and the ideal: as regards the impression received by the soul, these two subjects blend into the same. In the execution, he may place earnestness and passion, or jests and levity, according as he takes pleasure in the domain of the will or in that of the understanding. In the former case it is avenging and pathetic satire; in the second case it is sportive, humorous, and mirthful satire. Properly speaking, the object of poetry is not ...

I have previously remarked that the poet is nature, or he seeks nature. In the former case, he is a simple poet, in the second case, a sentimental poet. The poetic spirit is immortal, nor can it disappear from humanity; it can only disappear with humanity itself, or with the aptitude to be a man, a human being. And actually, though man by the freedom of his imagination and of his understanding departs from simplicity, from truth, from the necessity of nature, not only a road always remains open to him to return to it, but, moreover, a powerful and ...

For there is no art where there is no style, and no style where there is no unity, and unity is of the individual.

To the mass the sublimest and highest is only exaggeration, because sublimity is perceived by reason, and all men have not the same share of it. A vulgar soul is oppressed or overstretched by those sublime ideas, and the crowd sees dreadful disorder where a thinking mind sees the highest order.

The agreeable is not worthy of art, and the good is at least not its end; for the aim of art is to please, and the good, whether we consider it in theory or in practice, neither can nor ought to serve as a means of satisfying the wants of sensuousness. The agreeable only satisfies the senses, and is distinguished thereby from the good, which only pleases the reason. The agreeable only pleases by its matter, for it is only matter that can affect the senses, and all that is form can only please the reason. It is true that ...

With some remarks upon the importance of doing nothing. A DIALOGUE . Part I. Persons : Gilbert and Ernest . Scene : the library of a house in Piccadilly , overlooking the Green Park Gilbert ( at the Piano ). My dear Ernest, what are you laughing at? Ernest ( looking up ). At a capital story that I have just come across in this volume of Reminiscences that I have found on your table. Gilbert . What is the book? Ah! I see. I have not read it yet. Is it good? Ernest . Well, while you have been ...

With some remarks on the importance of discussing everything. A DIALOGUE : Part II. Persons : the same . Scene : the same . Ernest . The ortolans were delightful, and the Chambertin perfect, and now let us return to the point at issue. Gilbert . Ah! don’t let us do that. Conversation should touch everything, but should concentrate itself on nothing. Let us talk about Moral Indignation , its Cause and Cure , a subject on which I think of writing: or about The Survival of Thersites , as shown by the English comic papers; or about any topic ...

An observation A DIALOGUE . Persons : Cyril and Vivian . Scene : the Library of a country house in Nottinghamshire . Cyril ( coming in through the open window from the terrace ). My dear Vivian, don’t coop yourself up all day in the library. It is a perfectly lovely afternoon. The air is exquisite. There is a mist upon the woods, like the purple bloom upon a plum. Let us go and lie on the grass and smoke cigarettes and enjoy Nature. Vivian. Enjoy Nature! I am glad to say that I have entirely lost that faculty. People ...

AUTHOR: OSCAR WILDE EDITOR: ROBERT ROSS TRANSCRIBED FROM THE 1913 METHUEN AND CO EDITION BY DAVID PRICE ‘The English Renaissance of Art’ was delivered as a lecture for the first time in the Chickering Hall, New York, on January 9, 1882. A portion of it was reported in the New York Tribune on the following day and in other American papers subsequently. Since then this portion has been reprinted, more or less accurately, from time to time, in unauthorised editions. There are in existence no less than four copies of the lecture, the earliest of which is entirely in the ...

The author of the article which appeared in the eleventh number of "The Hours," of 1795, upon "The Danger of Aesthetic Manners," was right to hold as doubtful a morality founded only on a feeling for the beautiful, and which has no other warrant than taste; but it is evident that a strong and pure feeling for the beautiful ought to exercise a salutary influence upon the moral life; and this is the question of which I am about to treat. When I attribute to taste the merit of contributing to moral progress, it is not in the least my ...

The depicting of suffering, in the shape of simple suffering, is never the end of art, but it is of the greatest importance as a means of attaining its end. The highest aim of art is to represent the super-sensuous, and this is effected in particular by tragic art, because it represents by sensible marks the moral man, maintaining himself in a state of passion, independently of the laws of nature. The principle of freedom in man becomes conscious of itself only by the resistance it offers to the violence of the feelings. Now the resistance can only be measured ...

[ First published in The Westminster Review for October 1852. ] Commenting on the seeming incongruity between his father’s argumentative powers and his ignorance of formal logic, Tristram Shandy says:—“It was a matter of just wonder with my worthy tutor, and two or three fellows of that learned society, that a man who knew not so much as the names of his tools, should be able to work after that fashion with them.” Sterne’s implied conclusion that a knowledge of the principles of reasoning neither makes, nor is essential to, a good reasoner, is doubtless true. Thus, too, is it ...

The chief advantage that would result from the establishment of Socialism is, undoubtedly, the fact that Socialism would relieve us from that sordid necessity of living for others which, in the present condition of things, presses so hardly upon almost everybody. In fact, scarcely anyone at all escapes. Now and then, in the course of the century, a great man of science, like Darwin; a great poet, like Keats; a fine critical spirit, like M. Renan; a supreme artist, like Flaubert, has been able to isolate himself, to keep himself out of reach of the clamorous claims of others, to ...

Sulzer has remarked that the stage has arisen from an irresistible longing for the new and extraordinary. Man, oppressed by divided cares, and satiated with sensual pleasure, felt an emptiness or want. Man, neither altogether satisfied with the senses, nor forever capable of thought, wanted a middle state, a bridge between the two states, bringing them into harmony. Beauty and aesthetics supplied that for him. But a good lawgiver is not satisfied with discovering the bent of his people— he turns it to account as an instrument for higher use; and hence he chose the stage, as giving nourishment to ...

[ First published in The Leader for January 3, 1852. ] In one of his essays, Emerson remarks, that what Nature at one time provides for use, she afterwards turns to ornament; and he cites in illustration the structure of a sea-shell, in which the parts that have for a while formed the mouth are at the next season of growth left behind, and become decorative nodes and spines. Ignoring the implied teleology, which does not here concern us, it has often occurred to me that this same remark might be extended to the progress of Humanity. Here, too, the ...

Absolute , A conception, or, more strictly, in Kantian language, an idea of the pure reason, embracing the fundamental and necessary yet free ground of all things. Antinomy . The conflict of the laws of pure reason; as in the question of free will and necessity. Autonomy (autonomous). Governing itself by the spontaneous action of free will. Aesthetics . The science of beauty; as ethics of duty. Cognition (knowledge; Germanice, "Erkenntniss") is either an intuition or a conception. The former has an immediate relation to the object, and is singular and individual; the latter has but a mediate relation, by ...