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Extra info for The principles of aesthetics
There are many reasons for this. The idea or judgment is a less taxing thing than an emotion, and so is substituted for it in the mind, which everywhere seeks economy of effort. The idea is also more efficient from a practical point of view, because it leads directly to action and does not divert and waste energy in diffused and useless movements. The physician simply recognizes the states of mind of his patients, he does not sympathize with them. Finally our own reactions to an objectified emotion may interfere with the emotion.
The tender expressiveness of certain curved lines, like those of the Greek amphora, for example, is due, partially at least, to association with lines of the human body, with which normally this feeling is associated. The associated object, together with its feeling tone, are sufficiently common to the experience of all men to account for the universality of the emotion, and the isolation of the stimulus--abstract line--from its usual context of color and bulk accounts for the vagueness. Sometimes, on the other hand, expressiveness seems to be due to a direct psychological relation between the sense-stimulus and the emotion.
The painter would not, if he could, reproduce all the elements of a face, but only those that are expressive of the interpretation of character he wishes to convey. The novelist and the dramatist proceed in a like selective fashion in the treatment of their material. In the lives of men there are a thousand actions and events--casual spoken words, recurrent processes such as eating and dressing, hours of idleness and futility which, because repetitious, habitual, or inconsequential, throw no light upon that alone in which we are interested,--character and fortune.