The Philosophy of Fine Art, volume 4 (of 4)

nature than in ancient tragedy. The issue as the effect of misfortune. "Romeo and Juliet," a kind of unhappy blessedness in misfortune. Social plays the link between tragedy and comedy. As a rule the triumph of ordinary morality celebrated. Modern comedy. Question whether folly is ridiculous only to others, or to the comic character also. The second type mainly that of Aristophanes, the first that of Molière. Invention of the intrigue or intricate plot. Comparison of Shakespeare's comedy with that of Aristophanes] Final Summary and Conclusion THIRD PART THE SYSTEM OF THE PARTICULAR ARTS SUBSECTION III THE ROMANTIC ARTS (CONTINUED) THE PHILOSOPHY OF FINE ART CHAPTER III POETRY INTRODUCTION I The temple of classical architecture demands a god, who resides therein. Sculpture exhibits the same in plastic beauty, and confers forms on the material it employs for this purpose, which do not in their nature remain external to what is spiritual, but are the form itself immanent in the defined content. The corporeality, however, and sensuousness, no less than the ideal universality of the sculptured figure, are opposed on the one hand to subjective ideality, and in part to the particularity of the individual, in whose element the content of the religious, no less than also the worldly life, must secure reality by virtue of a novel form of art. This mode of expression, which is of subjective import, and at the same time particularized in its characterization, the art of painting itself contributes under the principle of the plastic arts.…