Henry James's Conception Of Art And Its Moral Consequences

This dissertation aims to study Henry James's conception of art and its moral consequences. Though the issue has been discussed from various angles, some aspects of it have not received critical treatment they deserve, and others, though already examined, still allow further investigation. As to the affinity between the Paterian aestheticism and James, certain aspects which are crucial for a right understanding of James's view on the moral consequences of art, remain unfortunately unexplored. When dealing with the conflict between James's theory of art creation on the one hand and that of morality on the other, critics often stop at revealing James's ambiguous attitude, but do not make further distinction between his different attitudes in different situations. Again, detachment as an essential factor in art and its moral consequences in James's writings has not received adequate critical analysis. Discussions of James's conception of art and its moral consequences are mostly scattered in studies mainly devoted to the philosophical, cultural, or biographical aspects of James. Therefore, a systematic and in-depth study of the issue is not only necessary but also indispensable for a better understanding of the man and his writings.This dissertation approaches James's conception of art and its moral consequences from the perspective of aesthetic being and artistic doing and that of detachment and involvement. It examines two crucial terms in James's studies: aesthetic contemplation and artistic creation, interpreting them respectively with the help of Walter Pater's theory of being and James's notion of doing. As either aesthetic contemplation or artistic creation requires a certain degree of detachment, analysis of a third aspect—detachment and involvement is thereby offered.The dissertation begins with an exploration of James's idea of the aesthetic doctrine of being and its moral significance. It reevaluates the convergence between James and Pater's theory of being. Preceding criticism about Pater's influence on James mainly stresses the quest for the multiplicity and intensity of impressions, the primacy of subjective consciousness, and the passion for experience. The presentstudy points out that the Paterian celebration of being is not a mere encouragement for the pursuit of aesthetic impressions and experience. It is a principle that aims to procure a sense of freedom in the modern world of fragmentation and determinism. More importantly, it advocates keen perception and acute observation, insists on relying on immediate perception rather than antecedent and abstract doctrines for moral judgment, and asks for mental openness to new impressions and new ideas. These aspects of Pater's aestheticism correspond to James's idea of art and morality. Based on this understanding, the present study argues that James takes a dynamic attitude toward the moral consequences of the aesthetic doctrine of being. James is alarmed at the possible moral collapse caused by excessive addiction to aesthetic pleasures. However, he gradually sees that this exaltation of being helps to ensure a sense of freedom in modern life. Pater's theory encourages acute perception and absorption of new impressions and ideas, which for James is also necessary for the development of a fine moral sense. So for James the aesthetic principle of being contributes to the formation of a higher morality.For James, art involves not only seeing but also doing, both aesthetic contemplation and artistic creation. Chapter Two discusses how James sees the conflict between artistic doing and morality. James's art theory quests for perfection of form, which necessitates authorial mastery and manipulation of the artistic material and brings about egoism and tyranny. Regarding this conflict between artistic doing and morality, some critics suggest that James insists on the necessity of artistic control and does not care about its moral consequences; others emphasize his awareness of the tyrannical nature of authorial control and his sympathy with those characters who res...