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Critique of apparent feelings.
it is finished, experiencing, in addition to the æsthetic pleasure, that very different one which arises from the thought of self-love satisfied, or of the economic gain which will come to him from his work. Examples could be multiplied.
A category of apparent æsthetic feelings has been formed in modern Esthetic. These have
nothing to do with the aesthetic sensations of pleasure arising from the form, that is to say from the work of art. On the contrary, they arise from the content of the work of art. It has been observed that "artistic representations arouse pleasure and pain in their infinite variety and gradations. We tremble with anxiety, we rejoice, we fear, we laugh, we weep, we desire, with the personages of a drama or of a romance, with the figures in a picture, or with the melody of music. But these feelings are not those that would give occasion to the real fact outside art; that is to say, they are the same in quality, but they are quantitively an attenuation. Esthetic and apparent pleasure and pain are slight, of little depth, and changeable." We have no need to treat of these apparent feelings, for the good reason that we have already amply discussed them; indeed, we have treated of them alone. What are ever feelings that
become apparent or manifest, but feelings objectified, intensified, expressed? And it is natural that they do not trouble and agitate us passionately, as do those of real life, because those were matter, these are form and activity; those true and proper feelings, these intuitions and expressions. The formula, then, of apparent feelings is nothing but a tautology. The best that can be done is to run the pen through it.
Critique of the beautiful as that which pleases the
CRITIQUE OF ÆSTHETIC HEDONISM
The aesthetic-hedonistic point of view has
difficult to avoid the mistake of thinking that a
theory of play.
The theory of play is another form of æsthetic Critique of the hedonism. The conception of play has sometimes helped towards the realization of the actifying character of the expressive fact: man (it has been said) is not really man, save when he begins to play; that is to say, when he frees himself from natural and mechanical causality and operates spiritually; and his first game is art. But since the word play also means that pleasure which
Critique of the theories of
arises from the expenditure of the exuberant energy of the organism (that is to say, from a practical act), the consequence of this theory has been, that every game has been called an æsthetic fact, and that the æsthetic function has been called a game, in so far as it is possible to play with it, for, like science and every other thing, Esthetic can be made part of a game. morality cannot be provoked at the intention of playing, on the ground that it does not consent; on the contrary, it dominates and regulates the act of playing itself.
Finally, there have been some who have tried sexuality and of to deduce the pleasure of art from the reaction of the sexual organs. There are some very modern æstheticians who place the genesis of the æsthetic fact in the pleasure of conquering, of triumphing, or, as others add, in the desire of the male, who wishes to conquer the female. This theory is seasoned with much anecdotal erudition, Heaven knows of what degree of credibility! on the customs of savage peoples. But in very truth there was no necessity for such important aid, for one often meets in ordinary life poets who adorn themselves with their poetry, like cocks that raise their crests, or turkeys that spread their tails. But he who does such things, in so far as he does