the mind objects and emotions in the same fashion that ordinary life
does, then the value of art, the image of life, would be a function
of the value of the life imaged. And just as one seeks contact with
the good in real life and avoids the evil, so one would seek in art
imaginative contact with the good alone. But expression, and above all
artistic expression, does something more than present objects to the
imagination and arouse emotions. Art is not life over again, a mere
shadow of life; if it were, what would be its unique value? who would
not prefer the substance to the shadow? The expression of life is not
life itself; hence, even if the evil in life be always evil, the
expression of it may still be a good.

Another theory, often called the "intellectualistic" theory, claims
that the purpose of art is truth. "Beauty is truth; truth, beauty."
The immediate pleasure which we feel in the beautiful is the same as
the instant delight in the apprehension of truth. There is no difference
in purpose or value between science and art, but only a difference in
method--science presents truth in the form of the abstract judgment;
art, in the form of the concrete image or example.

The difficulty with this theory is the uncertainty as to what is meant
by truth; hence the many shapes it assumes. But before going deeply
into this question, let us consider some of the simple facts which
seem to tell for and against the theory. There can be no doubt that
many examples of the representative arts--painting, sculpture, novel,
and drama--are praised for their truth. We demand truth of coloring
or line in painting, of form in sculpture, of character and social
relation in the drama or novel. On the other hand, we admit aesthetic
value to fanciful painting and literature, and to expressions of beliefs
which no one accepts at the present time. We appreciate the beauty of