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Updated: May 2, 2025
The objectification of musical forms is due to their fixity and complexity: like words, they are thought of as existing in a social medium, and can be beautiful without being spatial. But tastes have never been so accurately or universally classified and distinguished; the instrument of sensation does not allow such nice and stable discriminations as does the ear.
The four earlier novels stand for a period when there is a strong, or at least sufficient story interest, the proper amount of objectification: to the second division belong "Middlemarch" and "Daniel Deronda," where we feel that problem comes first and story second.
It not only creates an expectation to satisfy it, but the expectation itself is of a poignant, emotional, personal character. What is the emotion that is aroused by such a satisfaction? The answer to this question takes us back again to that old picturesque theory of Schopenhauer that music is the objectification of the will.
That the organic individual does not perfectly correspond to the ideal of its species, but only approximates this more or less closely, is grounded in the fact that the stadia in the objectification of the will, or the Ideas, contend, as it were, for matter; and whatever of force is used up in the victory of the higher Ideas over the lower is lost for the development of the examples of the former.
A map is not naturally thought of as an aesthetic object; it is too exclusively expressive. The first term is passed over as a mere symbol, and the mind is filled either with imaginations of the landscape the country would really offer, or with thoughts about its history and inhabitants. These circumstances prevent the ready objectification of our pleasure in the map itself.
First of all, there is mere physical attraction: to the man physical, woman is a cup of delight; next, there is emotional love, whereby woman appeals through her need of protection, her power of tenderness; on the mental plane she is man's intellectual companion, his masculine reason would supplement itself with her feminine intuition; he recognizes in her an objectification, in some sort, of his own soul, his spirit's bride, predestined throughout the ages; while the god within him perceives her to be that portion of himself which he put forth before the world was, to be the mother, not alone of human children, but of all those myriad forms, within which entering, "as in a sheath, a knife," he becomes the Enjoyer, and realizes, vividly and concretely, his bliss, his wisdom, and his power.
An interesting attempt to reconcile these two points of view to establish an organic relation between form and idea is found in "The Sense of Beauty" by Professor George Santayana. The central point of this writer's theory is his definition of beauty as the objectification of pleasure.
Yet God existed in man's apprehension long before mathematics or even, perhaps, before the vault of heaven; for the objectification of the whole mind, with its passions and motives, naturally precedes that abstraction by which the idea of a material world is drawn from the chaos of experience, an abstraction which culminates in such atomic and astronomical theories as science is now familiar with.
They had not that preponderant taste for the indeterminate that makes the landscape a favourite subject of contemplation. But love of nature, and comprehension of her, they had in a most eminent degree; in fact, they actually made explicit that objectification of our own soul in her, which for the romantic poet remains a mere vague and shifting suggestion.
Vegetation, according to Schopenhauer's theory, is on a lower grade of Will Objectification or Manifestation, than men and animals are, and landscape painting is, therefore, altogether on a different plane.
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