A further important question, as to the fitting psychological
designation of the aesthetic state, is now suggested. Some
authorities speak of the aesthetic attitude or activity,
describing it as "sympathetic imitation" or "absorption;"
others of the aesthetic pleasure. But, according to our
definition of the aesthetic experience as a combination of
favorable stimulation with repose, this state, as involving
"a distinctive feeling-tone and a characteristic trend of
activity aroused by a certain situation,"<1> can be no other
than an emotion. This view is confirmed by introspection; we
speak of aesthetic activity and aesthetic pleasure, but we
are conscious of a complete arrest, and sometimes of a very
distinct divergence from pure pleasure. The experience is
unique, it seems to defy description, to be intense, vivid,
and yet--like itself alone. Any attempt to disengage special,
already known emotions, even at the play or in hearing music,
is often in vain, in just those moments when our excitement is
most intense. But the hypothesis of a unique emotion, parallel
to those of joy, fear, etc., and with a psychological basis as
outlined, would account for these facts. The positive toning
of the experience--what we call aesthetic pleasure--is due not
only to the favorable stimulation, but also to the fact that
the very antagonism of impulses which constitutes repose
heightens tone while it inhibits action. Thus the conditions
of both factors of aesthetic emotion tend to induct pleasure.

<1> Baldwin's _Dict. Of Phil. And Psychol._ Art. "Emotion."

It is, then, clear that no specific aesthetic pleasure need be
sought. The very phrase, indeed, is a misnomer, since all