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AS A

REPRESENTATIVE ART

AN ESSAY IN

COMPARATIVE ÆSTHETICS

BY

GEORGE LANSING RAYMOND, L.H.D.

PROFESSOR OF ESTHETICS IN PRINCETON UNIVERSITY
AUTHOR OF "THE ORATOR'S MANUAL,' ART IN THEORY,' THE REPRESENTATTVE
SIGNIFICANCE OF FORM," " PAINTING, SCULPTURE, AND ARCHITECTURE AS
REPRESENTATIVE ARTS,” “THE GENESIS OF ART-FORM," "RHYTHM
AND HARMONY IN POETRY AND MUSIC, ""PROPORTION AND
HARMONY OP LINE AND COLOR IN PAINTING,

SCULPTURE, AND ARCHITECTURE," ETC.

SEVENTH EDITION REVISED

G. P. PUTNAM'S SONS
NEW YORK AND LONDON
Tbe knickerbocker Press

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PREFACE.

THIS work is intended to be complete in itself, devel.

oping from beginning to end the whole subject of which it treats. But this subject is a part of a larger one, connected with which are many underlying principles and practical inferences not mentioned here, although some of them, apparently, are not outside even of the limited range of discussion prescribed for this book by its title. To obviate the criticism which the omission of any reference to these may naturally occasion, it seems well to state that Poetry as a Representative Art is only one of a series of volumes unfolding the general subject of Comparative Æsthetics in the following order:

Art in Theory, dealing with the distinctions between nature and art; between the useful and the beautiful as in ästhetic art; the different theories held concerning the latter, and their effects upon its products; the true theory, its philosophic aspects, and the classification of the arts as determined by it.

The Representative Significance of Form, discussing the kinds of truth derivable from nature and from man; the distinctions between religious, scientific, and artistic truth; between different phases of the latter developed in the epic, the realistic, and the dramatic, as expressed in all the arts; and as differently expressed in the different arts, with illustrations showing the importance of making these

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