Bauhaus-Universität Weimar

THE DIFFERENTIA OF ÆSTHETICS. 
47 
satisfied, on the other hand, if I can account physiologically 
for the common pleasure in bright coloured objects, elemen¬ 
tary paintings, easy melodies, and popular poetry: only 
touching slightly upon the more involved phenomena of 
kindred origin. 
To apply a metaphor drawn from another science, Taste 
may be regarded as the personal equation of Æsthetics, for 
which allowance must in each case be made, but which 
does not detract from the objective truth of the general 
result. Only, in Æsthetics, where we are dealing with 
phenomena of the nervous system itself, the personal equa¬ 
tion rises into such great importance as to form one of the 
main departments of the subject. So we must always 
endeavour to account, not merely for the most usual form 
of Taste, but also for the structural peculiarities which give 
rise to the- principal variations. And especially must we 
do so in treating of those varieties which differentiate the 
artistically-minded few from the inartistic masses. 
Again, we have only looked so far at the sensuous or 
presentative elements of Æsthetic Feeling. But when we 
remember that it includes, beside, a vast body of emotional 
and intellectual—that is, representative — elements, the 
difficulty of accounting for these varieties in Taste is still 
further decreased. As men and women differ infinitely in 
emotions and intellect, they must differ infinitely in their 
appreciation of that which calls up emotional and intellec¬ 
tual activities of various orders in various combinations. 
We cannot expect a child or a savage to admire the poetry 
of Wordsworth, the landscapes of Turner, the sonatas of
        

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