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

By George Lansing Raymond | Go to book overview

CHAPTER IX. THE DIFFERENT ARTS AS REPRESENTING DIFFERENT PHASES OF MENTAL CONCEPTION.

The Art Used in Expression is Often Determined by the Thought or Emotion to be Expressed -- Form of Expression Appropriate for Each Stage of Any Given Experience -- Physical Thrill, and Vocal Expression Leading to Music -- Definite Opinions, and Verbal Expression Leading to Poetry -- Conflicting Opinions Leading to Oratory -- Contemplation of Facts as they Appear Leading to Painting and Sculpture -- Planning and Re-arranging Leading to Architecture -- Relations of External Influence and States of Consciousness as Represented in Each Art -- Mental Contents and Influence from Without Compared to Ice on Water Flowing into an Inlet -- Conditions Corresponding to Music, Poetry, Painting, Sculpture, and Architecture -- Testimony of Physics -- Largest Nerve-Movement in Music, Less in Poetry, Less Still in Colours, Least in Lines -- Nerves are Directly Conscious of Vibrations in Sound, as in Thunder, but not of Vibrations in Colours -- This Fact Illustrated Mythologically and Medicinally -- Mental Facts Accord with what has Preceded -- The Indefinite is Represented in Inarticulated Music; the Definite, in Articulated Poetry -- Difference in Representative Effects of Words and Tones -- Is a Difference between Visualising Thought and Not Visualising it -- Illustrations -- Non-Imaginative Effect of Poetry that does Not Suggest Sights -- Non-Success of Poetry too Exclusively Musical.

It has been shown that the artist represents the sights or sounds of nature in order, through them, to represent his thoughts or emotions. This statement at once suggests that certain classes of natural phenomena, and therefore certain forms of art, differing, say, as music from painting, must be better fitted than are others for the representation of certain phases of thought or

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