The Essentials of Aesthetics in Music, Poetry, Painting, Sculpture and Architecture

By George Lansing Raymond | Go to book overview

CHAPTER II. BEAUTY.

Limitations in the Sights and Sounds, the Thoughts and Emotions, and the External Products with which Art Can Deal -- The Sights and Sounds Must Have Interest, Charm, Beauty -- Beauty as Attributed to Form as Form -- To Form as an Expression of Thoughts or Emotions -- To Both these Sources Combined -- Examples -- Complexity of Effect Characteristic of Beauty -- In Sounds -- In Lines and Colours -- Besides Complexity, Harmony of Effect upon the Senses is Essential in Beauty; Produced through Like or Related Vibrations in Tones and Colours -- Through Like or Related Divisions of Time or Space in Rhythm and Proportion -- Unity of Effect upon the Brain Necessary to Beauty - Mind Affected Irrespective of the Senses -- Senses Affected from the Mind-side -- Complexity Even in Form Recognised and Analysed by the Mind -- Imagination Frames an Image as a Standard of Beauty - Mind is, therefore, Affected and Active when Beauty is Recognised - Exemplified in Music -- In Poetry -- In Arts of Sight -- What is Meant by Harmony of Effects upon the Mind in Music or Poetry -- In Arts of Sight -- Further Remarks on Complexity and Unity -- Definition of Beauty -- What it Leaves Unexplained -- Applies to Natural as well as to Artistic Forms -- To Arts of Sound as well as of Sight -- Relation of this Definition to Other Definitions -- Taste -- Its Cultivation.

IN the preceding chapter an endeavour was made to show that art of the highest or finest quality involves three things: first, a reproduction of the phenomena of nature, especially of its sights and sounds; second, an expression of the thoughts and emotions of the artist; and, third, an embodiment of both these other features in an external product like a symphony, a poem,

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