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Updated: May 20, 2025
There is, perhaps, some point of common agreement from which to survey and distinguish more exactly these two diverging tendencies. Such a coign of vantage is offered by the nature of the aesthetic attitude, for since Kant there has been among aestheticians no essential difference of opinion on this point. The aesthetic attitude, all agree, is disinterested.
According to some Aestheticians the indefinable emotions we sometimes feel when listening to music are the reverberations of feelings experienced countless ages ago. This may have some foundation in fact, but it is somewhat like seeing in a museum a mummy of ourselves in a previous incarnation.
It is the best attempt that I have seen to state theoretically the case against Wagner in sober and reasoned language, and though it contains a few misunderstandings it is free from offensive personalities and well worthy of attention. The author is a disciple of that school of German aestheticians of which F. Th. Vischer is the foremost representative. According to Dr.
In this we begin to see the real nature and activity of art. There are other aestheticians who define art in much the same way. God is fundamental beauty. Beauty is the idea shining through matter. Art is a means of bringing to consciousness and expressing the deepest problems of humanity and the highest truths." According to Hegel beauty and truth are one and the same thing.
From these different sense impressions there gradually evolved what is known as beauty and ugliness. It will be interesting to hear what he and the later aestheticians have to say about art. Most of them connect it in some way with that which is beautiful, that is, pleasing, but they do not all agree in their definition of beauty.
But what one personally craves is the outcome of another set of influences, due to one's peculiar and instinctive organic constitution; it is based on one's individual instinctive needs and may not be precisely the same for any two persons. The Aestheticians are not here indeed altogether in harmony.
There are few persons, I believe, who on hearing an instrumental composition do not feel a desire to form a mental picture of its contents, so to speak, to objectivate it in their minds. Aestheticians tell us that we are wrong, and we are apt to laugh at each other's pictures, but we all do it.
Whatever is beyond this is symbolical. Movement and symbolism are the only means by which music can express anything. The notion that music can express a definite feeling was, the author declares, universally held by aestheticians at that time, and amongst those who held it he seems to include Wagner. It would be possible, he says, to substitute words of an exactly opposite meaning
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