William James, Principles of Psychology

We must immediately insist that aesthetic emotion, pure and simple, the pleasure given us by certain lines and masses, and combinations of colors and sounds, is an absolutely sensational experience, an optical or auricular feeling that is primary, and not due to the repercussion backwards of other sensations elsewhere consecutively aroused. To this simple primary and immediate pleasure in certain pure sensations and harmonious combinations of them, there may, it is true, be added secondary pleasures; and in the practical enjoyment of works of art by the masses of mankind these secondary pleasures play a great part. The more classic one's taste is, however, the less relatively important are the secondary pleasures felt to be, in comparison with those of the primary sensation as it comes in. Classicism and romanticism have their battles over this point. Complex suggestiveness, the awakening of vistas of memory and association, and the stirring of our flesh with picturesque mystery and gloom, make a work of art romantic. The classic taste brands these effects as coarse and tawdry, and prefers the naked beauty of the optical and auditory sensations, unadorned with frippery or foliage. To the romantic mind, on the contrary, the immediate beauty of these sensations seems dry and thin. I am of course not discussing which view is right, but only showing that the discrimination between the primary feeling of beauty, as a pure incoming sensible quality, and the secondary emotions which are grafted thereupon, is one that must be made.