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CHAPTER XVII.-The result of the preceding facts
and notions leads to a knowledge of what ought
to be the true end of imitation
Page
172
PART II.
THE END OF IMITATION IN THE FINE ARTS.
CHAPTER I.—Pleasure, the object of imitation. Of
the two kinds of pleasure it affords. Which of
the two is its end
CHAPTER II.—On the right understanding, accord-
ing to the spirit of this theory, of the idea of
reality or identity in imitation, and of that of the
pleasure resulting from it
CHAPTER III-Of the superiority, in imitation, of
the pleasure of the mind over that addressed to
the senses alone.
. 177
186
192
CHAPTER IV.-What imitation that is whose model
cannot be shown, and what name is given to it. 200
CHAPTER V.-Of the ideal. Definition of the word. Of the meaning to be attached to it
CHAPTER VI.-Ideal imitation the result of a gene-
ralized study of nature
CHAPTER VII.-Of the inferiority of the works of
art compared with those of nature, unless re-
course be had to the ideal model of imitation
. 210
219
226
✓
CHAPTER VIII.-Continuation of the same subject 235
CHAPTER IX.-Wherein the work of art may sur-
pass that of nature
CHAPTER X.-Of the originating cause through
which the ideal style in works of art was intro-
duced into, and perpetuated in Greece
CHAPTER XI.-The works of ancient art shown to
. 244
256
be invested with the characteristics of the ideal 264
CHAPTER XII.-The notion of the ideal, as enter-
tained in this theory, is in accordance with that
of the writers of antiquity
CHAPTER XIII.-The ideal in theory ought only to
be explained to the understanding, and can only
be so by rational analysis
273
282
PART III.
OF THE MEANS OF IMITATION IN THE FINE ARTS.
CHAPTER I.-What we are to understand by means
of imitation, according to the object and spirit of
this theory
CHAPTER II.-Of convention, understood as a
means of imitation. Of conventions practical
and poetical
287
293
CHAPTER III.-Of poetical conventions, or the
general means, which, common alike to all the
arts, imitation employs in order to attain the ideal 301
CHAPTER IV.-Of the act of generalizing consi-
dered as a mean of attaining to ideal imitation in
the works of poetry
CHAPTER V.-Of the act of generalizing in the
works of the arts of design, and in the imitation
of the human body
CHAPTER VI.-Of the two customary phrases
choice of forms, and union of scattered beauties.
An analysis of those two notions
CHAPTER VII.-Of the act of transforming or
transposing considered as a mean of ideal imita-
tion, both in the inventions of poetry and the
forms of its language
CHAPTER VIII.-On the employment of meta-
phorical means, different according as the art
differs. Of the errors that exist on this head,
more especially in the arts of design
CHAPTER IX.-Of the act of transforming and
tion in the arts of design
. 307
. 321
336
358
. 367
.378
CHAPTER XII.-Of certain proprieties to be ob-
served in the allegorical style
CHAPTER XIII.-Why the employment of modern
allegory has less force and produces less effect
in poetry than in painting
CHAPTER XIV. Of the effect of symbolical com-
position in the transformation of subjects and
personages
CHAPTER XV.-Explains why symbolical meta-
phor is in poetry of but little worth
CHAPTER XVI.-On certain practical means proper, exclusively, to the arts of design. Of nudity poetically considered
CHAPTER XVII.-Continuation of the same sub- ject. Of ideal clothing, or of ancient costume
403
413
420
. 431
440
and habiliments transferred to modern subjects. 456