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    Three Lectures on Aesthetic
    Three Lectures on Aesthetic
    Three Lectures on Aesthetic
    Ebook66 pages1 hour

    Three Lectures on Aesthetic

    By Bernard Bosanquet

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    "Three Lectures on Aesthetic" is an insightful work by Bernard Bosanquet, an English philosopher and political theorist of the late 19th and early 20th centuries. This work reflects his belief that aesthetics can reconcile the natural and the supernatural worlds.
    LanguageEnglish
    PublisherGood Press
    Release dateApr 11, 2021
    ISBN4064066459048
    Three Lectures on Aesthetic

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      Book preview

      Three Lectures on Aesthetic - Bernard Bosanquet

      Bernard Bosanquet

      Three Lectures on Aesthetic

      Published by Good Press, 2022

      [email protected]

      EAN 4064066459048

      Table of Contents

      Preface

      Lecture I: The General Nature of the Aesthetic Attitude — Contemplation and Creation

      Lecture II: The Aesthetic Attitude in its Embodiments — Nature and the Arts

      Lecture III: Forms of Aesthetic Satisfaction — Beauty and Ugliness

      PREFACE

      Table of Contents

      These lectures were delivered at University College, London, in the autumn of 1914, and are printed with hardly any alteration.

      I must appear unfortunate in having laid so much stress on feeling, just when high authorities are expressing a doubt whether the word has any meaning at all (see Croce’s Aesthetic, and Professor J. A. Smith’s discussion in Aristotelian Proceedings for 1913-1914). I can only say here that the first and main thing which the word suggests to me is the concernment of the whole body-and-mind (cp. p. 7, note), as Plato puts it in building up his account of psychical unity on the simple sentence, The man has a pain in his finger (Republic, 462 D). It is the whole man, the body-and-mind, who has the pain, and ​in it is one, though it is referred to the finger and localised there. When a body-and-mind is, as a whole, in any experience, that is the chief feature, I believe, of what we mean by feeling. Think of him as he sings, or loves, or fights. When he is as one, I believe it is always through feeling, whatever distinctions may supervene upon it. That unity, at all events, is the main thing the word conveys to me.

      I have not attempted to do justice to the sources of my ideas, for in the limits I had to observe my jus would have become injuria. Besides, I was trying my level best to talk straight and not learnedly to my audience; and now I want to preserve the same attitude towards my possible readers.

      BERNARD BOSANQUET.

      Oxshott

      , January 1915.

      Lecture I: The General Nature of the Aesthetic Attitude — Contemplation and Creation

      Table of Contents

      ​

      I

      THE GENERAL NATURE OF THE AESTHETIC ATTITUDE — CONTEMPLATION AND CREATION.

      Table of Contents

      All that I intend to attempt in these three lectures is (i.) to point out what we mean when we speak of aesthetic experience as contrasted with any other, say, with theory or practice; (ii.) to indicate what I take to be the chief grounds on which we distinguish and connect its different provinces, the beauty of nature, for example, and the whole body of fine art, and then again the several fine arts; and (iii.) finally to trace the divergence and connection of its contrasted qualities, such as receive the names of beauty and ugliness. Obviously, in so short a space, we must not attempt ​to be learned. We will describe and analyse our object straight away, to the best of our power. In the main, what we have to say will be quite elementary.

      In this first lecture we will try to get a prima facie notion of the aesthetic attitude, confining ourselves to its pleasant and satisfactory form. Ugliness and the like raise further problems, which we shall attempt in the third lecture.

      I must pause, however, just one moment before plunging into the subject. I must explain what sort of interest in Aesthetic I am presupposing in my audience. It is the interest of a branch of philosophy. It is to consider where in life the aesthetic attitude is to be found, and what is its peculiar form of value, as distinguished from other attitudes and objects in our experience. It is not to prescribe rules for the production of beauty, or for the criticism of artists’ work. And again, it is not the interest in aesthetic science, if that means a detailed explanation of the causes of pleasantness and unpleasantness ​in sensation and imagination. From such a science we have much to learn, and we may often borrow illustrations from the very elementary cases which are all that it can deal with. But science — the tissue of causal explanations and general laws — and philosophy, — the analysis of forms of reality and their values — are for us different things. And our aesthetic is a branch of philosophy.

      A great deal indeed is said about philosophical aesthetic being deductive, arguing downwards from above, not inductively from below, and therefore pursuing an obsolete and metaphysical method. I confess that all this talk about method in philosophy seems to me rather foolish and wearisome. I only know in philosophy one method; and that is to expand all the relevant facts, taken together, into ideas which approve themselves to thought as exhaustive and self-consistent.

      Now to plunge into our subject. The simplest aesthetic experience is, to begin with, a pleasant feeling, or a feeling of ​something pleasant — when we attend to it, it begins to be the latter.

      Is this all? No. The peculiar quality which makes us distinguish it by a certain set of adjectives, of which the word beautiful is the type, seems to be describable by three chief characteristics, closely connected with each other.

      i. It is a stable feeling — our pleasure

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