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致青春手机观看完整版剧情介绍: Since, on the one hand, every given thing may be observed in a. purely objective manner and apart from all relations; and since, on the other hand, the will manifests itself in everything at some grade of its objectivity, so that everything is the expression of an Idea; it follows that everything is also beautiful. That even the most insignificant things admit of pure objective and [pg 272] will-less contemplation, and thus prove that they are beautiful, is shown by what was said above in this reference about the Dutch pictures of still-life. But one thing is more beautiful than another, because it makes this pure objective contemplation easier, it lends itself to it, and, so to speak, even compels it, and then we call it very beautiful. This is the case sometimes because, as an individual thing, it expresses in its purity the Idea of its species by the very distinct, clearly defined, and significant relation of its parts, and also fully reveals that Idea through the completeness of all the possible expressions of its species united in it, so that it makes the transition from the individual thing to the Idea, and therefore also the condition of pure contemplation, very easy for the beholder. Sometimes this possession of special beauty in an object lies in the fact that the Idea itself which appeals to us in it is a high grade of the objectivity of will, and therefore very significant and expressive. Therefore it is that man is more beautiful than all other objects, and the revelation of his nature is the highest aim of art. Human form and expression are the most important objects of plastic art, and human action the most important object of poetry. Yet each thing has its own peculiar beauty, not only every organism which expresses itself in the unity of an individual being, but also everything unorganised and formless, and even every manufactured article. For all these reveal the Ideas through which the will objectifies itself at its lowest grades, they give, as it were, the deepest resounding bass-notes of nature. Gravity, rigidity, fluidity, light, and so forth, are the Ideas which express themselves in rocks, in buildings, in waters. Landscape-gardening or architecture can do no more than assist them to unfold their qualities distinctly, fully, and variously; they can only give them the opportunity of expressing themselves purely, so that they lend themselves to aesthetic contemplation and make it easier. [pg 273]Inferior buildings or illfavoured localities, on the contrary, which nature has neglected or art has spoiled, perform this task in a very slight degree or not at all; yet even from them these universal, fundamental Ideas of nature cannot altogether disappear. To the careful observer they present themselves here also, and even bad buildings and the like are capable of being aesthetically considered; the Ideas of the most universal properties of their materials are still recognisable in them, only the artificial form which has been given them does not assist but hinders aesthetic contemplation. Manufactured articles also serve to express Ideas, only it is not the Idea of the manufactured article which speaks in them, but the Idea of the material to which this artificial form has been given. This may be very conveniently expressed in two words, in the language of the schoolmen, thus,—the manufactured article expresses the Idea of its forma substantialis, but not that of its forma accidentalis; the latter leads to no Idea, but only to a human conception of which it is the result. It is needless to say that by manufactured article no work of plastic art is meant. The schoolmen understand, in fact, by forma substantialis that which I call the grade of the objectification of will in a thing. We shall return immediately, when we treat of architecture, to the Idea of the material. Our view, then, cannot be reconciled with that of Plato if he is of opinion that a table or a chair express the Idea of a table or a chair (De Rep., x., pp. 284, 285, et Parmen., p. 79, ed. Bip.), but we say that they express the Ideas which are already expressed in their mere material as such. According to Aristotle (Metap. xi., chap. 3), however, Plato himself only maintained Ideas of natural objects: ? Πλατων εφη, ?τι ειδη εστιν ?ποσα φυσει (Plato dixit, quod ide? eorum sunt, qu? natura sunt), and in chap. 5 he says that, according to the Platonists, there are no Ideas of house and ring. In any case, Plato's earliest disciples, as Alcinous informs us (Introductio [pg 274]in Platonicam Philosophiam, chap. 9), denied that there were any ideas of manufactured articles. He says: ?ριζονται δε την ιδεαν, παραδειγμα των κατα φυσιν αιωνιον. Ουτε γαρ τοι? πλειστοι? των απο Πλατωνο? αρεσκει, των τεχνικων ειναι ιδεα?, ο?ον ασπιδο? η λυρα?, ουτε μην των παρα φυσιν, ο?ον πυρετου και χολερα?, ουτε των κατα μερο?, ο?ον Σωκρατου? και Πλατωνο?, αλλ? ουτε των ευτελων τινο?, ο?ον ρυπου και καρφου?, ουτε των προ? τι, ο?ον μειζονο? και ?περεχοντο?; ειναι γαρ τα? ιδεα? νοησει? θεου αιωνιου? τε και αυτοτελει? (Definiunt autem IdEAm exemplar ?ternum eorum, qu? secundum naturam existunt. Nam plurimis ex iis, qui Platonem secuti sunt, minime placuit, arte factorum ideas esse, ut clypei atque lyr?; neque rursus eorum, qu? pr?tor naturam, ut febris et choler?, neque particularium, ceu Socratis et Platonis; neque etiam rerum vilium, veluti sordium et festuc?; neque relationum, ut majoris et excedentis: esse namque ideas intellectiones dei ?ternas, ac seipsis perfectas). We may take this opportunity of mentioning another point in which our doctrine of Ideas differs very much from that of Plato. He teaches (De Rep., x., p. 288) that the object which art tries to express, the ideal of painting and poetry, is not the Idea but the particular thing. Our whole exposition hitherto has maintained exactly the opposite, and Plato's opinion is the less likely to lead us astray, inasmuch as it is the source of one of the greatest and best known errors of this great man, his depreciation and rejection of art, and especially poetry; he directly connects his false judgment in reference to this with the passage quoted.
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