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fire. Now, it is true that the great cathedrals of Europe,
at Rome, Chartres or Cologne, purposively evoke
wonder not as a purely aesthetic end in itself, but as a
means to lead the spectator to humble contemplation of
his or her impotence in the face of the grandeur of God.
Videogames, on the other hand, represent the latest
stage in the secularization of wonder that has been
abroad since the fine arts were divorced from religion
and aesthetics was invented. Some people deplore this
development;
57
others argue intriguingly that wonder
has always been equally a secular instinct, providing
the motivation for empirical scientific investigation.
58
Wonder has always been a spur to action, whether
creative or pious. Our wonder at the alien potency of
fire once led us to invent a beautiful story about a
renegade god whose gift to men brought him tortuous
retribution. In a later age, wonder at the fiery vault of
the heavens led us to refine and systematize the science
of astronomy. There is no reason in principle
_________________
57 See the baleful jeremiads of Roger Scruton’s
An Intelligent Person’s
Guide to Modern Culture
(South Bend, Indiana: Saint Augustine’s Press,
2000).
58 This is the argument of Philip Fisher’s fascinating
Wonder, the Rainbow,
and the Aesthetics of Rare Experiences
(Cambridge: Harvard University
Press, 1999).
