'To see the object as in itself it really is,' has been justly said to be the aim of all true criticism whatever; and in æsthetic criticism the first step towards seeing one's object as it really is, is to know one's own impression as it really is, to discriminate it, to realise it distinctly. The objects with which æsthetic criticism deals, music, poetry, artistic and accomplished forms of human life, are indeed receptacles of so many powers or forces; they possess, like natural elements, so many virtues or qualities. What is this song or picture, this engaging personality presented in life or in a book, to me? What effect does it really produce on me? Does it give me pleasure? and if so, what sort or degree of pleasure? How is my nature modified by its presence and under its influence? The answers to these questions are the original facts with which the æsthetic critic has to do; and, as in the study of light, of morals, of number, one must realise such primary data for oneself or not at all. And he who experiences these impressions strongly, and drives directly at the analysis and discrimination of them, need not trouble himself with the abstract question what beauty is in itself, or its exact relation to truth or experience,—metaphysical questions, as unprofitable as metaphysical questions elsewhere. He may pass them all by as being, answerable or not, of no interest to him.
The æsthetic critic, then, regards all the objects
