We use cookies to enhance your experience on our website. By continuing to use our website, you are agreeing to our use of cookies. You can change your cookie settings at any time.
Find out more
Jump to Content
Jump to Main Navigation
User Account
Personal Profile
More
About
News
Subscriber Services
Help
FAQs
Contact Us
Oxford Scholarly Editions Online
Search
Advanced Search
Menu
Browse
Browse Works
Browse Editions
Browse Authors
My Content
(0)
Recently viewed
(0)
Save Entry
My Searches
(0)
Recently viewed
(0)
Save Search
Batteux: The Fine Arts Reduced to a Single Principle
James O. Young (ed.)
Publisher: Oxford University Press
Published in print:
2015
ISBN:
9780198747116
Published online:
October 2016
EISBN:
9780191841279
DOI:
10.1093/actrade/9780198747116.book.1
Buy
this Book
Editors
James O. Young
Print
Save
Cite
Email this content
Share Link
Copy this link, or click below to email it to a friend
Email this content
or copy the link directly:
https://www.oxfordscholarlyeditions.com/abstract/10.1093/actrade/9780198747116.book.1/actrade-9780198747116-book-1
The link was not copied. Your current browser may not support copying via this button.
Link copied successfully
Copy link
Contents
Expand All
Collapse All
Page:
Users without a subscription are not able to see the full content. Please,
subscribe
or
login
to access all content.
Contents
Close section
Front Matter
Dedication
Epigraph
Acknowledgements
Translator's Introduction
Close section
The Fine Arts Reduced to a Single Principle
Epistle Dedicatory
Preface
Close section
PART ONE Where we establish the nature of the arts by reference to the genius that produced them
Chapter One: Division and origin of the arts
Chapter Two: Genius is only able to produce the arts by imitation; what imitation is
Chapter Three: Genius must not imitate reality just as it is
Chapter Four: The state genius must be in to imitate belle nature
Chapter Five: On the manner in which the arts imitate
Chapter Six: Why eloquence and architecture differ from the other arts
Close section
PART TWO: Where we establish the principle of imitation by reference to nature and the laws of taste
Chapter One: What taste is
Chapter Two: The subject of taste can only be nature
Chapter Three: Evidence drawn from the history of taste
Chapter Four: The purpose of the laws of taste is to imitate belle nature
Chapter Five: Second general law of taste Belle nature must be imitated well
Chapter Six: There are particular rules for each artwork and taste finds them only in nature
Chapter Seven: Conclusion I
Chapter Eight: Conclusion II
Chapter Nine: Conclusion III
Chapter Ten: Conclusion IV
Close section
PART THREE: Where the principle of imitation is verified by its application to the various arts
Close section
SECTION ONE: Poetical art consists in the imitation of belle nature
Chapter One: Where opinions contrary to the principle of imitation are refuted
Chapter Two: The divisions of poetry are found in [types of] imitation
Chapter Three: The general rules of poetical content are contained in the principle of imitation
Chapter Four: The rules of poetical style are contained in the imitation of belle nature
Chapter Five: All rules of epic poetry ome from the principle of imitation
Chapter Six: On tragedy
Chapter Seven: On comedy
Chapter Eight: On pastoral poetry
Chapter Nine: On fables
Chapter Ten: On lyric poetry
SECTION TWO: On painting
Close section
SECTION THREE: On music and dance
Chapter One: Gestures and tones of voice are the keys to understanding music and dance
Chapter Two: The emotions are the principal subject of music and dance
Chapter Three: All music and dance must have a referent and a meaning
Chapter Four: The expressive qualities that music and dance must have
Chapter Five: On the union of the fine arts
Close section
End Matter
Index
[3.238.113.236]
3.238.113.236
