FROM ANALYSIS TO JUDGMENT 171 



the gods, love) as reflections of ideal structures in the world and 

 man's experience of it; and discussing the natures of similarly 

 persistent types or genres of art (such as, in literature, the epic, 

 drama, and lyric; tragedy, comedy, and satire). Thus, it empha- 

 sizes and values, not the unique individualities of aesthetic 

 experience, but its recurrent traits, and tends toward objectivity, both 

 by focussing its attention on the work of art itself as a thing to be 

 understood and evaluated, and by looking in it, not so much for 

 expression of personality as for reflection or imitation of reality, of 

 the world and human nature, in their universal aspects. 



What, then, are some of the parallels between the two types 

 or 'species', say, of 'horse' and 'tragedy'? How many of our ob- 

 servations on the former (Appendix C) are valid in the latter 

 case? 



In analysis of works of art also, the basic procedure is one of 

 seeing the individual specimen in its various relations: to other 

 works by the same artist, of the same period, of the same tradition 

 and type; to the life of the artist and his milieu; and so forth. This 

 point was especially emphasized by the French critic, Charles 

 Lalo, whose early works were, interestingly enough, roughly con- 

 temporaneous with those of Cassirer:^^ ^Aesthetic relativism', Lalo 

 writes, 'will only be complete when it has genuinely covered all relations',^^ 

 including the mathematical or mechanical, the physiological, the 

 psychological, and the sociological. However, just as it is necessary 

 to consider discontinuities, as well as continuities, in nature, so 

 here too there must be an element of limitation: 'If aesthetics is 

 to become a science, as Lalo desires, then we ought to be able to 

 discern an aspect of negation in its definition of method. . . . 

 Practically, all relations =no relations.' 5-* Professor Gilbert then 

 traces some of the actual negations implied by Lalo in his applica- 

 tions of his theory of relativity and indicates that the types of 

 limitation which might be further developed could be classified 

 as intensive and extensive, or qualitative and quantitative. ^^ 



Consider, for example, the following definition by Thomas 

 Munro : 'A style of art is a compound descriptive type which requires a 

 comparatively large number of specifications for clear definition. It consists 

 of a combination of traits or characteristics which tend to recur together in 

 diflferent works of art, or have done so in the art of some particular 

 place and period. It is a recurrent trait-complex; a distinctive 

 cluster or configuration of interrelated traits: e.g., in Gothic 

 architecture: pointed arches, high vaults, pitched roofs, slender 



