An attempt has been made in the following chapters to point out what is meant when we discuss aesthetic experience as compared to any other e.g., with theory or practice. Second-ly, to indicate what chief grounds we take, on which we distinguish and connect its different provinces, e.g., the beauty of nature, and the whole body of fine art, and again the number of fine arts. Finally to trace the divergence and connection of its contrasted qualities, such as receive the names of beauty and ugliness are explained.
Obviously in so short a script of our attempt on aesthetics we will analyse and describe our main object to the best of our power in a quite elementary method.
The first chapter gets the prima facie notion of aesthetic attitude, confining itself in a pleasant and satisfactory form.
Aesthetics is the interest of a branch of philosophy. It is to consider where in life the aesthetic posture 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 lay down as a guide the rules for the production of beauty or for the criticism of an artist's work. Again it is not in the interest in the aesthetic science, if that means a detailed explanation of the causes of pleasantness and unpleasantness in sensation and imagination.
We have much to learn from such a Science which illustrates from the very elementary cases. But science, being the tissue of casual explanations and general laws, and philosophy, the analysis of forms of reality and their values, are different things for us.
Philosophical aesthetics is said, a great deal indeed, being deductive, reasoning downwards form above, and not inductively from below and therefore pursuing an obsolete and meta-physical method. In philosophy there is one method l.e. to expand all the pertinent facts, put together, into ideas which approve themselves to thought as exhaustive and self consistent.
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