By Edward G. Ballard
Aesthetics, fledgling of the philosophic brood, is the main suspect of that family members. it's suspected of all of the philosophical sins: vagueness, ailment, dogmatism, emotionalism, reductionism, compartmentalization. occasionally its adolescence is assumed to be a enough excuse for those divagations. occasionally the very nature of its content material, regarding the waywardness of genius, the remoteness of feeling from mind, the surd of thought in even the mildest appreciation, are believed to sentence aes thetics irrevocably to the bottom of the civilized man's area. a few philosophers have gloried during this it appears mystical and a-rational caliber and feature obvious in it the very nature of the attractive; others have come to treat it, fairly, as facts of the unskillfulness of our minds and feature grew to become clear of aesthetic difficulties to the duty of polishing the aesthetician's language and good judgment. The laughter of the gods isn't really tricky to determine in the course of the poetry of the extra mystical aesthetician or throughout the prose of the analysts. in the meantime the manifold complexities and difficulties of aesthetic event invite our figuring out. for cultured event is a gift truth of human lifestyles and should, maybe, be understood through males. Such, at the least, often is the current assumption. that is why why the name of this e-book mentions artwork including research; for if artwork is intelligible, the murals and the event of it can be analyzed into its sensible parts.
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Extra info for Art and Analysis: An Essay toward a Theory in Aesthetics
The fancy of a perpetual life, sweeping together ten thousand experiences, is an old one; and modern philosophy has conceived, the idea of humanity as wrought upon 38 TERMS AND ILLUSTRATIONS by, and summing up in itself, all modes of thought and life. Certainly Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modem idea. Aldous Huxley offers a more striking instance, perhaps just because it is less meditatively literary, of the same pattern. It matters not, I think, that his transition from the profane to the aesthetic was effected with the aid of a drug.
Prometheus Bound has been called one of the most impressive and affecting dramas in all of literature. This judgment seems to be hardly less true for the modem reader who has access to the play only in translation than for Aeschylus' contemporaries. Evidently, then, poetic values can sometimes be more independent of their original poetic vehicle than they are thought to be. It will be interesting to ask just what this poetic quality is which survives translation. I suggest that this aesthetic quality is to be found in the very great richness of the myth which, in its handling in this play, is forced upon the reader.
They become symbolic of more than we can say, and in this fullness and richness of the intuited meaning much of the poetry must evidently lie. Hamlet may be analyzed into parts which reflect each other. The common pattern present in these similar parts forces itself upon the reader powerfully until he himself begins to set up something of the same pattern first in his imagination and then, no doubt, in deeper levels of his psychic organism and even, unless he manages to avoid thinking about this experience, upon the conceptual level.