By Monroe C. Beardsley
“Beardsley’s ebook accomplishes to perfection what the author meant. It illuminates a space of heritage from a undeniable point of view as used to be by no means performed ahead of. . . . The distinguishing function of his ebook is a n pleasure over every little thing I aesthetics that has to do with symbols, meanings, language, and modes of interpretation. And this pleasure has delivered to gentle elements of the historical past f the topic by no means spotted sooner than, or at the least, now not so clearly.”
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Additional info for Aesthetics from Classical Greece to the Present
What we also want, and need, is a path that will bring us again into a direct apprehension of Beauty, in so far as this is possible while our souls are still in bodies; only in this way can the divine love (eros) within us be satisfied. This is the theme of the Symposium, and especially the discourse of Diotima of Mantineia: we can progress from bodily beauty to beauty of mind, to beauty of institutions and laws and Plato 41 the sciences themselves (21o-11)-finally, to "essential beauty entire, pure and unalloyed" (211e; trans.
The problem in choosing materi~ls for the early education of the guardians in the Republic (377) is that there is so little poetry that is true-not that it is impossible for poetry to tell the truth, but that the legislator must pick and choose. 46 Aesthetics from Classical Greece to the Present Plato makes one further suggestion in the Laws-that art is to be judged by its correctness. Music, for example, he says, is "imitative and representative" (668b; trans. Bury), and so must correspond to something.
A second is closely connected with the first: the pseudo craftsman doesn't himself have a very clear idea what he is doing; it is impossible to give a rational account of his method (Gorgias 465ab ). But then are not the musician, the painter, and the composer in exactly the same situation? The painter, at any rate, seems to go in for deceptive semblances; the musician is perhaps chiefly an accompfice of the poet, when he sets the latter's words to music that will enable the singer to pretend to passions he doesn't really feel.
Aesthetics from Classical Greece to the Present by Monroe C. Beardsley