[Footnote 1: _Educational Review_, February, 1919.]
[Footnote 2: _Educational Review_, February, 1919.]
[Footnote 3: _Teachers College Record_, January, 1919.]
Throughout this study we have again and again been led to consider the relations of the aesthetic experiences to the practical life. It is as the repository of deep desires and as the appreciation of values that the aesthetic may be most readily seen to be practical, but it performs other functions. As ecstatic experience it is the source of _power_ in the conscious life, and it was indeed the belief in art as a means of attaining power that has given art its place in the world. The aesthetic experience is the form also in which desires are brought into relation to one another, harmonized and transformed, or transferred to new objects. So the aesthetic is the type of adaptation in the inner life.
We have asserted that all life, and certainly the educational process, must have its dramatic moments, since the dramatic experience, as ecstasy of the social life, is the expression of social feeling in its highest form. The aesthetic experience is the central point of experience, so to speak, at which social ideals impinge upon and influence and mold pure nature. Art is the form in which play, representing biological forces, is carried to a higher stage, and made a factor in conscious evolution. The aesthetic experience is a practical attitude in another way. It is by our aesthetic appreciation, more than we commonly understand, that we judge life as a totality, that we estimate the fitness of its parts to belong to the whole, and that indeed we guide life when we judge it not according to principles which so often are seen to be inadequate, but when we try to bring to bear our utmost of powers of appreciation and to find ultimate values.
Such a recognition of the relation of art or the aesthetic to life we see often expressed in the literature of the day. It is a sign of the times--of an effort to attain higher powers, to take more comprehensive views of life, and to gain deeper insight into it. It is a phase of the seriousness of purpose which the war has aroused in us. Dide speaks of a deep but obscure need that drives all human beings to put themselves in harmony with the universal, and says that this is the end and purpose of the aesthetic tendencies. This phase of the place of the aesthetic is seen and expressed in various ways. Some think of it as a significant change in the attitude of life which is to bring about an era of peace. Clutton-Brook, an English writer, says that unless we attain to some kind of beauty and art, we shall have no lasting peace. We shall never have freedom from war until we have a peace that is worth living. Some see in the humanistic spirit an essentially aesthetic principle. The fairness and justice of the French, the spirit of the English that expresses itself in their ideal of sportsmanship, some attribute to the aesthetic spirit.