December 26, 2014

AETHETICS IS MORALITY:

How do we know real art when we see it? (Roger Scruton, 12/21/14, BBC Magazine)

Three words summarise my answer - beauty, form and redemption.

For many artists and critics, beauty is a discredited idea. It denotes the saccharine sylvan scenes and cheesy melodies that appealed to Granny. The modernist message, that art must show life as it is, suggests to many people that, if you aim for beauty, you will end up with kitsch. This is a mistake, however. Kitsch tells you how nice you are. It offers easy feelings on the cheap. Beauty tells you to stop thinking about yourself, and to wake up to the world of others. It says: "Look at this, listen to this, study this - for here is something more important than you." Kitsch is a means to cheap emotion. Beauty is an end in itself. We reach beauty through setting our interests aside and letting the world dawn on us. There are many ways of doing this, but art is undeniably the most important, since it presents us with the image of human life - our own life and all that life means to us - and asks us to look on it directly, not for what we can take from it but for what we can give to it. Through beauty, art cleans the world of our self-obsession.

Our human need for beauty is not something that we could lack and still be fulfilled as people. It is a need arising from our moral nature. We can wander through this world, alienated, resentful, full of suspicion and distrust. Or we can find our home here, coming to rest in harmony with others and with ourselves. And the experience of beauty guides us along this second path. It tells us that we are at home in the world, that the world is already ordered in our perceptions as a place fit for the lives of beings like us. That is what we see in Corot's landscapes, Cezanne's apples, or Van Gogh's unlaced boots.

This brings me to my second important word - form. The true work of art is not beautiful in the way an animal, a flower or a stretch of countryside is beautiful. It is a consciously created thing, in which the human need for form triumphs over the randomness of objects. Our lives are fragmented and distracted - things start up in our feelings without finding their completion. Very little is revealed to us in such a way that its significance can be fully understood. In art, however, we create a realm of the imagination, in which each beginning finds its end, and each fragment is part of a meaningful whole. The subject of a Bach fugue seems to develop of its own accord, filling musical space and moving logically towards closure. But it is not an exercise in mathematics. Every theme in Bach is pregnant with emotion, moving with the rhythm of the listener's inner life. Bach is taking you into an imagined space, and presenting you, in that space, with the image of your own fulfilment. Likewise Rembrandt will take the flesh tints on an ageing face and show how each one captures something of the life within, so that the formal harmony of the colours conveys the completeness and unity of the person. In Rembrandt we see integrated character in a disintegrating body. And we are moved to reverence. [...]

If we look at the true apostles of beauty in our time - I think of composers like Henri Dutilleux and James Macmillan, of painters like David Inshaw and John Wonnacott, of poets like Ruth Padel and Charles Tomlinson, of prose writers like Italo Calvino and Georges Perec - we are immediately struck by the immense hard work, the studious isolation, and the attention to detail which have characterised their craft. In art, beauty has to be won and the work is harder as the surrounding idiocy grows. But the task is worth it, and this brings me to my third important word - redemption.

In the face of sorrow, imperfection and the fleetingness of our affections and joys, we ask ourselves: "Why?" We need reassurance. We look to art for the proof that life in this world is meaningful and that suffering is not the pointless thing that it so often appears to be, but the necessary part of a larger and redeeming whole. Tragedies show us the triumph of dignity over destruction and compassion over despair. In a way that will always be mysterious, they endow suffering with a formal completion and thereby restore the moral equilibrium. The tragic hero is completed through his fate. His death is a sacrifice, and this sacrifice renews the world.

Tragedy reminds us that beauty is a redemptive presence in our lives.

Posted by at December 26, 2014 5:03 AM
  

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