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Updated: May 3, 2025
Following the German school of einfuehlung, I have insisted throughout this discussion on the importance of feeling in the aesthetic experience; yet I do not think the voice of those people can be neglected who claim that their experience with works of art is of slight or no emotional intensity.
Now this habit of substituting the more rapid and economical process of judgment for the longer and more taxing one of sympathy, is carried over into the world of art. Nevertheless, the world of art is a region especially fitted for einfuehlung. For there the need for quick action, which in life tends to syncopate emotion, does not exist.
I wish to call the attention of the reader to certain very general considerations touching the nature and function of ideas in the aesthetic experience, leaving the study of the concrete problems to the more special chapters. First, the relation of the idea to the sense medium of the expression. Here, I think, we find something comparable to the process of einfuehlung.
If we wished to push the analogy with einfuehlung, we might coin a corresponding term einmeinung, "inmeaning." In all the representative arts, this is a process of equal importance with infeeling; for the artist strives just as much to realize his ideas of objects in the sense material of his art as to put his moods there.
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