From Plato to Tolstoy, art has been accused of exciting our emotions and thus of disturbing the order and harmony of our moral life. "Political imagination, according to Plato, waters our experience of lust and anger, of desire and pain, and makes them grow when they ought to starve with drought." Tolstoy sees in art a source of infection. "Not only in infection," he says, is a sign of art, but the degree of infectiousness also the sole measure of excellence in art, but the flaw in this theory is obvious. Tolstoy suppresses a fundamental moment of art, the moment of form.
The aesthetic experience - the experience of contemplation - is a different state of mind from the coolness of our theoretical and the sobriety of our moral judgment. It is filled with the liveliest energies of passion, but passion itself is here transformed both in its nature and in its meaning. Wordsworth defines poetry as "emotion recollected in tranquility". But the tranquility we feel in great poetry is not that of recollection. The emotions aroused by the poet do not belong to a remote past. They are “here” – alive and immediate. We are aware of their full strength, but this strength tends in a new direction. It is seen rather than immediately felt. Our passions are no longer dark and impenetrable powers; they become, as it were, transparent. Shakespeare never gives us an aesthetic theory. He does not speculate about the nature of art. Yet in the only passage in which he speaks of the character and function of dramatic art, the whole stress is laid upon this point. “The purpose of playing,” as Hamlet explains, “both at the first and now, was and is, to hold, as, they are the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time, his form and pressure.” But the image of a passion is not the passion itself. The poet who represents a passion does not infect us with this passion. At a Shakespeare play we are not infected with the ambition of Macbeth, with the cruelty of Richard III, or with the jealousy of Othello. We are not at the mercy of these emotions; we look through them; we seem to penetrate into their very nature and essence. In this respect Shakespeare’s theory of dramatic art, if he had such a theory, is incomplete agreement with the conception of the fine arts of the great painters and sculptors.
Through different periods, art was alleged to have excited our emotions and disturbed our moral life. Plato considers poetical imagination as something that enhances our fear about desire and pain. On the contrary, Tolstoy views it as a source of infection. He declares that its excellence lies in the degree of its infectiousness. Aesthetics cannot be experienced in a sober state of mind. But the flaw in Tolstoy theory is that it curbs the fundamental moment of form. Wordsworth defines poetry as emotional recollection in tranquility. However, the emotions aroused by the art are alive and vivid. The emotions, the poet quotes, are alive and imminent. On the other hand, Shakespeare emphasized on the point rather than on aesthetic theory. We are able to identify ourselves with his characters, and thus this theory of art is comparatively close to perfection.
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