A Study of Poetry | Page 3

poetry is an art: that it expresses emotion through words rhythmically arranged. But as soon as they began to inquire into the particular kind of emotion which is utilized in poetry and the various rhythmical arrangements employed by poets, they found themselves compelled to ask further questions. How do the other arts convey feeling? What arrangement or rhythmic ordering of facts do they use in this process? What takes place in us as we confront the work of art, or, in other words, what is our reaction to an artistic stimulus?
For an answer to such wider questions as these, we moderns turn to the so-called science of Aesthetics. This word, derived from the Greek aisthanomai (to perceive), has been defined as "anything having to do with perception by the senses." But it was first used in its present sense by the German thinker Baumgarten in the middle of the eighteenth century. He meant by it "the theory of the fine arts." It has proved a convenient term to describe both "The Science of the Beautiful" and "The Philosophy of Beauty"; that is, both the analysis and classification of beautiful things as well as speculation as to the origin and nature of Beauty itself. But it should be borne in mind that aesthetic inquiry and answer may precede by thousands of years the use of the formal language of aesthetic theory. Mr. Kipling's "Story of Ung" cleverly represents the cave-men as discussing the very topics which the contemporary studio and classroom strive in vain to settle,--in vain, because they are the eternal problems of art. Here are two faces, two trees, two colors, one of which seems preferable to the other. Wherein lies the difference, as far as the objects themselves are concerned? And what is it which the preferable face or tree or color stirs or awakens within us as we look at it? These are what we call aesthetic questions, but a man or a race may have a delicate and sure sense of beauty without consciously asking such questions at all. The awareness of beautiful objects in nature, and even the ability to create a beautiful work of art, may not be accompanied by any gift for aesthetic speculation. Conversely, many a Professor of aesthetics has contentedly lived in an ugly house and you would not think that he had ever looked at river or sky or had his pulses quickened by a tune. Nevertheless, no one can turn the pages of a formal History of Aesthetics without being reminded that the oldest and apparently the most simple inquiries in this field may also be the subtlest and in a sense the most modern. For illustration, take the three philosophical contributions of the Greeks to aesthetic theory, as they are stated by Bosanquet: [Footnote: Bosanquet, History of Aesthetic, chap. 3.]?(1) the conception that art deals with images, not realities, i.e. with aesthetic "semblance" or things as they appear to the artist; (2) the conception that art consists in "imitation," which they carried to an absurdity, indeed, by arguing that an imitation must be less "valuable" than the thing imitated;?(3) the conception that beauty consists in certain formal relations, such as symmetry, harmony of parts--in a word, "unity in variety."
Now no one can snap a Kodak effectively without putting into practice the first of these conceptions: nor understand the "new music" and "free verse" without reckoning with both the second and the third. The value to the student of poetry of some acquaintance with aesthetic theory is sometimes direct, as in the really invaluable discussion contained in Aristotle's Poetics, but more often, perhaps, it will be found in the indirect stimulus to his sympathy and taste. For he must survey the widespread sense of beauty in the ancient world, the splendid periods of artistic creation in the Middle Ages, the growth of a new feeling for landscape and for the richer and deeper human emotions, and the emergence of the sense of the "significant" or individually "characteristic" in the work of art. Finally he may come to lose himself with Kant or Hegel or Coleridge in philosophical theories about the nature of beauty, or to follow the curious analyses of experimental aesthetics in modern laboratories, where the psycho-physical reactions to aesthetic stimuli are cunningly registered and the effects of lines and colors and tones upon the human organism are set forth with mathematical precision. He need not trouble himself overmuch at the outset with definitions of Beauty. The chief thing is to become aware of the long and intimate preoccupation of men with beautiful objects and to remember that any inquiry into the nature and laws of poetry will surely lead him into a deeper curiosity as to the nature and manifestations of aesthetic feeling in general.
2. The Impulse