APPENDIX E 



SCALES OF VALUE IN 'THE IDEAL IN ART= 



NOTES 



(i) The diagrams should be pictured as combining to form a 

 single four-sided pyramid. At the centre is 'force' (or 'energy' 

 or 'Hfe') and the general unity of Real and Ideal which Taine 

 assumes (IV). 'The Converging Degree of Effects' is necessarily 

 slighted, since it is a dynamic element and a total Gestalt, which 

 cannot very well be worked into a static diagram. 



(2) A confusion which might result from the connotations of 

 'convergence' and 'higher and lower' must be avoided. The 

 bottom and centre of the pyramid represents the highest value; and, 

 instead of converging to a point, the forces should be pictured as 

 spreading out to cover more area. In this way, size can be correlated 

 with value. 



(3) As has been noted (Chapter X, 'The Problem of Causa- 

 tion'), the truest symbol would be an organism, which unfortu- 

 nately cannot be pictured in two dimensions. Thus, separation of 

 the 'moral' man from the 'physical' man is perhaps unjust to 

 Taine's ultimate intention, which was to consider these as 'one 

 thing in two aspects', like the attributes of Spinoza's one Sub- 

 stance. There is no special validity claimed for any one of the 

 diagrammatic forms, but, however they might be improved, they 

 are all necessarily inadequate, since they must finally be pictured 

 as combining to form a living whole. 



(4) In general, the up-and-down diagram has been used to 

 represent more or less static relationships; left-to-right, dynamic 

 relationships oi development. 



(5) Finally, Taine's development of these scales is not always 

 systematic or complete. Items which have been interpolated are 

 followed by a question mark (?). 



237 



