Aesops Fables | Page 2

the elements of beauty that constitute it--Illusion that there exist expressions neither beautiful nor ugly--Proper aesthetic sentiments and concomitant and accidental sentiments--Critique of apparent sentiments.
XI CRITIQUE OF AESTHETIC HEDONISM
Critique of the beautiful as what pleases the superior senses--Critique of the theory of play--Critique of the theory of sexuality and of the triumph--Critique of the Aesthetic of the sympathetic--Meaning in it of content and of form--Aesthetic hedonism and moralism--The rigoristic negation, and the pedagogic negation of art--Critique of pure beauty.
XII THE AESTHETIC OF THE SYMPATHETIC AND PSEUDO-AESTHETIC CONCEPTS
Pseudo-aesthetic concepts, and the Aesthetic of the sympathetic-- Critique of the theory of the ugly in art and of its surmounting-- Pseudo-aesthetic concepts appertain to Psychology--Impossibility of rigorous definitions of these--Examples: definitions of the sublime, of the comic, of the humorous--Relation between those concepts and aesthetic concepts.
XIII THE SO-CALLED PHYSICALLY BEAUTIFUL IN NATURE AND IN ART
Aesthetic activity and physical concepts--Expression in the aesthetic sense, and expression in the naturalistic sense--Intuitions and memory--The production of aids to memory--The physically beautiful-- Content and form: another meaning--Natural beauty and artificial beauty--Mixed beauty--Writings--The beautiful that is free and that which is not free--Critique of the beautiful that is not free-- Stimulants of production.
XIV ERRORS ARISING FROM THE CONFUSION BETWEEN PHYSIC AND AESTHETIC
Critique of aesthetic associationism--Critique of aesthetic physic-- Critique of the theory of the beauty of the human body--Critique of the beauty of geometrical figures--Critique of another aspect of the imitation of nature--Critique of the theory of the elementary forms of the beautiful--Critique of the search for the objective conditions of the beautiful--The astrology of Aesthetic.
XV THE ACTIVITY OF EXTERNALIZATION. TECHNIQUE AND THE THEORY OF THE ARTS
The practical activity of externalization--The technique of externalization--Technical theories of single arts--Critique of the classifications of the arts--Relation of the activity of externalization with utility and morality.
XVI TASTE AND THE REPRODUCTION OF ART
Aesthetic judgment. Its identity with aesthetic reproduction-- Impossibility of divergences--Identity of taste and genius--Analogy with the other activities--Critique of absolutism (intellectualism) and of aesthetic relativism--Critique of relative relativism--Objections founded on the variation of the stimulus and of the psychic disposition-- Critique of the distinction of signs as natural and conventional--The surmounting of variety--Restorations and historical interpretation.
XVII THE HISTORY OF LITERATURE AND OF ART
Historical criticism in literature and art. Its importance--Artistic and literary history. Its distinction from historical criticism and from the aesthetic judgment--The method of artistic and literary history--Critique of the problem of the origin of art--The criterion of progress and history--Inexistence of a single line of progress in artistic and literary history--Errors in respect of this law--Other meanings of the word "progress" in relation to Aesthetic.
XVIII CONCLUSION: IDENTITY OF LINGUISTIC AND AESTHETIC
Summary of the inquiry--Identity of Linguistic with Aesthetic-- Aesthetic formulation of linguistic problems. Nature of language-- Origin of language and its development--Relation between Grammatic and Logic--Grammatical categories or parts of speech--Individuality of speech and the classification of languages--Impossibility of a normative Grammatic--Didactic organisms--Elementary linguistic elements, or roots--The aesthetic judgment and the model language-- Conclusion.
HISTORICAL SUMMARY
Aesthetic ideas in Graeco-Roman antiquity--In the Middle Age and at the Renaissance--Fermentation of thought in the seventeenth century--Aesthetic ideas in Cartesianism, Leibnitzianism, and in the "Aesthetic" of Baumgarten--G.B. Vico--Aesthetic doctrines in the eighteenth century--Emmanuel Kant--The Aesthetic of Idealism with Schiller and Hegel--Schopenhauer and Herbart--Friedrich Schleiermacher--The philosophy of language with Humboldt and Steinthal--Aesthetic in France, England, and Italy during the first half of the nineteenth century--Francesco de Sanctis--The Aesthetic of the epigoni--Positivism and aesthetic naturalism--Aesthetic psychologism and other recent tendencies--Glance at the history of certain particular doctrines--Conclusion.
APPENDIX
Translation of the lecture on Pure Intuition and the lyrical nature of art, delivered by Benedetto Croce before the International Congress of Philosophy at Heidelberg.

INTRODUCTION
There are always Americas to be discovered: the most interesting in Europe.
I can lay no claim to having discovered an America, but I do claim to have discovered a Columbus. His name is Benedetto Croce, and he dwells on the shores of the Mediterranean, at Naples, city of the antique Parthenope.
Croce's America cannot be expressed in geographical terms. It is more important than any space of mountain and river, of forest and dale. It belongs to the kingdom of the spirit, and has many provinces. That province which most interests me, I have striven in the following pages to annex to the possessions of the Anglo-Saxon race; an act which cannot be blamed as predatory, since it may be said of philosophy more truly than of love, that "to divide is not to take away."
The Historical Summary will show how many a brave adventurer has navigated the perilous seas of speculation upon Art, how Aristotle's marvellous insight gave him glimpses of its beauty, how Plato threw away its golden fruit, how Baumgarten sounded the depth of its waters, Kant sailed along its coast without landing, and Vico hoisted the Italian flag upon its shore.
But Benedetto Croce has been the first thoroughly to explore it, cutting