Business & Economics Collection: Thorstein Veblen Edition (30+ Works in One Volume). Thorstein Veblen
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machine-made spoon, nor appreciably enhance the gratification of the user's "sense of beauty" in contemplating it, so long as the cheaper spoon is not a novelty, ad so long as it can be procured at a nominal cost. The case of the spoons is typical. The superior gratification derived from the use and contemplation of costly and supposedly beautiful products is, commonly, in great measure a gratification of our sense of costliness masquerading under the name of beauty. Our higher appreciation of the superior article is an appreciation of its superior honorific character, much more frequently than it is an unsophisticated appreciation of its beauty. The requirement of conspicuous wastefulness is not commonly present, consciously, in our canons of taste, but it is none the less present as a constraining norm selectively shaping and sustaining our sense of what is beautiful, and guiding our discrimination with respect to what may legitimately be approved as beautiful and what may not.
It is at this point, where the beautiful and the honorific meet and blend, that a discrimination between serviceability and wastefulness is most difficult in any concrete case. It frequently happens that an article which serves the honorific purpose of conspicuous waste is at the same time a beautiful object; and the same application of labor to which it owes its utility for the former purpose may, and often does, give beauty of form and color to the article. The question is further complicated by the fact that many objects, as, for instance, the precious stones and the metals and some other materials used for adornment and decoration, owe their utility as items of conspicuous waste to an antecedent utility as objects of beauty. Gold, for instance, has a high degree of sensuous beauty very many if not most of the highly prized works of art are intrinsically beautiful, though often with material qualification; the like is true of some stuffs used for clothing, of some landscapes, and of many other things in less degree. Except for this intrinsic beauty which they possess, these objects would scarcely have been coveted as they are, or have become monopolized objects of pride to their possessors and users. But the utility of these things to the possessor is commonly due less to their intrinsic beauty than to the honor which their possession and consumption confers, or to the obloquy which it wards off.
Apart from their serviceability in other respects, these objects are beautiful and have a utility as such; they are valuable on this account if they can be appropriated or monopolized; they are, therefore, coveted as valuable possessions, and their exclusive enjoyment gratifies the possessor's sense of pecuniary superiority at the same time that their contemplation gratifies his sense of beauty. But their beauty, in the naive sense of the word, is the occasion rather than the ground of their monopolization or of their commercial value. "Great as is the sensuous beauty of gems, their rarity and price adds an expression of distinction to them, which they would never have if they were cheap." There is, indeed, in the common run of cases under this head, relatively little incentive to the exclusive possession and use of these beautiful things, except on the ground of their honorific character as items of conspicuous waste. Most objects of this general class, with the partial exception of articles of personal adornment, would serve all other purposes than the honorific one equally well, whether owned by the person viewing them or not; and even as regards personal ornaments it is to be added that their chief purpose is to lend éclat to the person of their wearer (or owner) by comparison with other persons who are compelled to do without. The aesthetic serviceability of objects of beauty is not greatly nor universally heightened by possession.
The generalization for which the discussion so far affords ground is that any valuable object in order to appeal to our sense of beauty must conform to the requirements of beauty and of expensiveness both. But this is not all. Beyond this the canon of expensiveness also affects our tastes in such a way as to inextricably blend the marks of expensiveness, in our appreciation, with the beautiful features of the object, and to subsume the resultant effect under the head of an appreciation of beauty simply. The marks of expensiveness come to be accepted as beautiful features of the expensive articles. They are pleasing as being marks of honorific costliness, and the pleasure which they afford on this score blends with that afforded by the beautiful form and color of the object; so that we often declare that an article of apparel, for instance, is "perfectly lovely," when pretty much all that an analysis of the aesthetic value of the article would leave ground for is the declaration that it is pecuniarily honorific.
This blending and confusion of the elements of expensiveness and of beauty is, perhaps, best exemplified in articles of dress and of household furniture. The code of reputability in matters of dress decides what shapes, colors, materials, and general effects in human apparel are for the time to be accepted as suitable; and departures from the code are offensive to our taste, supposedly as being departures from aesthetic truth. The approval with which we look upon fashionable attire is by no means to be accounted pure make-believe. We readily, and for the most part with utter sincerity, find those things pleasing that are in vogue. Shaggy dress-stuffs and pronounced color effects, for instance, offend us at times when the vogue is goods of a high, glossy finish and neutral colors. A fancy bonnet of this year's model unquestionably appeals to our sensibilities today much more forcibly than an equally fancy bonnet of the model of last year; although when viewed in the perspective of a quarter of a century, it would, I apprehend, be a matter of the utmost difficulty to award the palm for intrinsic beauty to the one rather than to the other of these structures. So, again, it may be remarked that, considered simply in their physical juxtaposition with the human form, the high gloss of a gentleman's hat or of a patent-leather shoe has no more of intrinsic beauty than a similarly high gloss on a threadbare sleeve; and yet there is no question but that all well-bred people (in the Occidental civilized communities) instinctively and unaffectedly cleave to the one as a phenomenon of great beauty, and eschew the other as offensive to every sense to which it can appeal. It is extremely doubtful if any one could be induced to wear such a contrivance as the high hat of civilized society, except for some urgent reason based on other than aesthetic grounds.
By further habituation to an appreciative perception of the marks of expensiveness in goods, and by habitually identifying beauty with reputability, it comes about that a beautiful article which is not expensive is accounted not beautiful. In this way it has happened, for instance, that some beautiful flowers pass conventionally for offensive weeds; others that can be cultivated with relative ease are accepted and admired by the lower middle class, who can afford no more expensive luxuries of this kind; but these varieties are rejected as vulgar by those people who are better able to pay for expensive flowers and who are educated to a higher schedule of pecuniary beauty in the florist's products; while still other flowers, of no greater intrinsic beauty than these, are cultivated at great cost and call out much admiration from flower-lovers whose tastes have been matured under the critical guidance of a polite environment.
The same variation in matters of taste, from one class of society to another, is visible also as regards many other kinds of consumable goods, as, for example, is the case with furniture, houses, parks, and gardens. This diversity of views as to what is beautiful in these various classes of goods is not a diversity of the norm according to which the unsophisticated sense of the beautiful works. It is not a constitutional difference of endowments in the aesthetic respect, but rather a difference in the code of reputability which specifies what objects properly lie within the scope of honorific consumption for the class to which the critic belongs. It is a difference in the traditions of propriety with respect to the kinds of things which may, without derogation to the consumer, be consumed under the head of objects of taste and art. With a certain allowance for variations to be accounted for on other grounds, these traditions are determined, more or less rigidly, by the pecuniary plane of life of the class.
Everyday life affords many curious illustrations of the way in which the code of pecuniary beauty in articles of use varies from class to class, as well as of the way in which the conventional sense of beauty departs in its deliverances from the sense untutored by the requirements of pecuniary repute. Such a fact is the lawn, or the close-cropped yard or park, which appeals so unaffectedly to the taste of the Western peoples. It appears especially to appeal to the tastes of the well-to-do classes in those communities in which the dolicho-blond element predominates in an appreciable degree. The lawn unquestionably has an element of sensuous beauty, simply as an object of apperception, and as such no doubt it appeals pretty directly to the eye of nearly all races and all classes; but it is, perhaps, more unquestionably beautiful to the eye of the dolicho-blond than to most other varieties of men. This higher