New Bearings in Esthetics and Art Criticism

A Study in Semantics and Evaluation

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"ARTISTIC TRUTH"                                     59
be an emotion, but it is a fact that he feels it; the disgustingness of life may be an appearance, but the fact of its appearing is a reality.107
Without in any way questioning the subjective validity of these "emotional facts/5 many people will contend that this subjective validity entails nothing whatever about any "reality outside the idea," and that, therefore, Collingwood's notion of truth, if judged by a criterion of correspondence, is decidedly inadequate. Moreover (to refer again to our criteria of a good definition), however "clear and intelligible," "convenient" and "useful," and "conformable to established usage" this notion may appear to some people to be, I hold that, while Collingwood, like Stace, seems reluctant to use the word "sincerity"is this not merely because the term has too weak an emotional connotation?nonetheless "emotional sincerity" characterizes well the brand of truth asserted by Collingwood. Specific evidence for this interpretation may be noticed in the juxtaposition of the following two phrases, the former being trie only instance known to me of the use of "sincerity" in either of the books in question: (a) "The perfect sincerity which distinguishes good art from bad";108 (b) "Its artistic merit and its truth are the same thing." 109 In other words, "perfect sincerity" is implicitly identified with "truth."
Croce, to whom both Stace and Collingwood are indebted, explicitly speaks of sincerity as "fulness and truth of expression." no Thus despite certain variations between them, the conceptions which these three writers hold of artistic truth
107.  Collingwood, op. ciL, p. 288. Similarly Mr. L. A. Reid holds that "the criterion of the truth of art" consists of "the feelingexperience itself** {Knowledge and Truth [London, 1923], p. 231).
108.  Ibid., p. 115.
109.  Ibid., p. 287. no. Aesthetic, p. 88.