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Updated: May 29, 2025
The pleasures of the eye and ear, of the imagination and memory, are the most easily objectified and merged in ideas; but it would betray inexcusable haste and slight appreciation of the principle involved, if we called them the only materials of beauty. Our effort will rather be to discover its other sources, which have been more generally ignored, and point out their importance.
The courage people display may be objectified as a rock; their purpose as a road, their doubts as forks of the road, their difficulties as ruts and rocks, their progress as a fertile valley. If they mobilize their dread-naughts they unsheath a sword. If their army surrenders they are thrown to earth. If they are oppressed they are on the rack or under the harrow.
The creative imagination also, in its complete form, has a tendency to become objectified, to assert itself in a work that shall exist not only for the creator but for everybody. On the contrary, with dreamers pure and simple, the imagination remains a vaguely sketched inner affair; it is not embodied in any esthetic or practical invention.
The truth is, that all this objectified tone-feeling is directly dependent on the original real existence of the object that calls it up, and on our practical personal relation to it, and is thus, by universal agreement, definitely non-aesthetic.
If now we amend his definition, "Beauty is objectified pleasure," to "Beauty is objectified aesthetic pleasure," we are advanced no further.
The material world, as conceived in the first instance, had not that clear abstractness, nor the spiritual world that wealth and interest, which they have acquired for modern minds. The complex reactions of man's soul had been objectified together with those visual and tactile sensations which, reduced to a mathematical baldness, now furnish terms to natural science.
They are objectified in the Christological heresies. These heresies arrange themselves in a sequence so strict and so logical that one could almost say that they are deducible a priori from the concept "divine-human." Certainly the subjective fancies of the heresiarchs do not provide the whole account. There is something of the universal in these heresies.
If gold is the mind, silver is the body, in which the mind is imaged, objectified; if gold is flamelike love, silver is brooding affection; and in the highest regions of consciousness, beauty is the feminine or form side of truth its silver mirror. There are two forces in the world, one of projection, the other of recall; two states, activity and rest.
For in art, ideas, like feelings, are objectified in sensation. Only sensations are given; out of the mind come ideas through which the former are interpreted and made into the semblance of things. Consider, for example, Rembrandt's "Night-Watch." A festal mood is there in the golds and reds, and gloom in the blacks; but there also are the men and drums and arms.
Thus beauty is constituted by the objectification of pleasure. It is pleasure objectified. All human functions may contribute to the sense of beauty. Our task will now be to pass in review the various elements of our consciousness, and see what each contributes to the beauty of the world.
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