By Monroe C. Beardsley
“Beardsley’s publication accomplishes to perfection what the author intended. It illuminates a space of historical past from a definite point of view as was once by no means performed prior to. . . . The distinguishing characteristic of his booklet is a n pleasure over every thing I aesthetics that has to do with symbols, meanings, language, and modes of interpretation. And this pleasure has delivered to mild aspects of the background f the topic by no means spotted sooner than, or not less than, now not so clearly.” —The magazine of Aesthetics and artwork Criticism
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Extra info for Aesthetics from classical Greece to the present : a short history
This difficulty, so casually noted as the consequence of a coarse and tasteless procedure, was destined to set up very important aesthetic problems later, when music liberated itself more fully from words: if it is hard to tell what pure music imitates, and judge its success, that may be because it imitates nothing. But in most cases, at least, Plato thinks, there is a special task for the competent judge. He must have "first, a knowledge of the nature of the original; next, a knowledge of the correctness of the copy; and thirdly, a knowledge of the excellence with which the copy is executed" (66gab).
Murphy, The Interpretation of Plato's Republic (Oxford, 1951), ch. I I . D. R. Grey, "Art in the Republic," Philos XXVII (1952): 2913 10. Plato 53 Craig LaDriere, "The Problem of Plato's Ion," Jour Aesth and Art Crit X (Sept. 1951): 26-34. J. G. Warry, Greek Aesthetic Theory (New York, 1962), chs. 1-4. Evanghelos Moutsopoulos, La Musique dans l'oeuvre de Platon (Paris, 1959). E. Huber-Abrahamowicz, Das Problem der Kunst bei Platon (Winterthur, 1954). Julius Walter, Die Geschichte der ;fsthetik in Altertum (Leipzig, 1893).
Gorgias 474d). In the Philebus, Plato is prepared to say what sorts of things are beautiful, that is, what essential properties beautiful things have in common, without which, he thinks, they could not be beautiful. He is sure these properties are closely associated with beauty, as the conditions under which it is possible for the Form to become embodied in concrete particulars-but he does not want to say that these properties define beauty, or constitute an analysis of it. And probably he means beauty itself to be a single simple property, not analyzable at all.
Aesthetics from classical Greece to the present : a short history by Monroe C. Beardsley