Abstract
Aesthetic value can scarcely be comprehended outside the context of a general theory of value. However, all the axiological subtilities of a general value theory cannot possibly be discussed within the confines of this essay; therefore, certain opinions on value will be set down here with a kind of transient dogmatism, set down without defense and merely for the purpose of providing a terminological basis for later remarks.
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References
Those Ancient Dramas Called Tragedies, Princeton, 1942, pp. 21-26.
One’s reading may be enriched by recollections of other similar treatments of the same theme. For example, Scriabine’s tone poem, Prometheus, developes, so its program insists, these same ideas in the musical language.
“Hamlet and Orestes” in Proceeding of the British Academy, 1913-19 14, London, p. 389-413.
Act I, sc. v.
Aldous Huxley, The Doors of Perception, Harper & Bros., pp. 21-22.
I think my views agree with those of Norman Cazden, who notes, in opposition to an exclusively formalistic theory of music, that “music, if it be put in presentable form at all, cannot but refer to the real world of human existance, cannot but have intelligible content, meaning, human value.” In “Toward a Theory of Realism in Music,” J, of Aesthetics and Art Criticism, X, no. 2, (Dec, 1951), pp. 135-151. Appendix, p. 215 below, is relevant to this point.
A History of Aesthetic, London, 1910, appendix ii, p. 488. 2 Signs, Language, and Behavior, N.Y., 1946, p. 193.
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© 1957 Springer Science + Business Media B.V.
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Ballard, E.G. (1957). Terms and Illustrations. In: Art and Analysis. Springer, Dordrecht. https://doi.org/10.1007/978-94-011-8843-2_2
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