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Charles Batteux
- Close sectionThe 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 sectionPART 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 sectionPART THREE: Where the principle of imitation is verified by its application to the various arts
- Close sectionSECTION 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 sectionSECTION 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 sectionSECTION ONE: Poetical art consists in the imitation of belle nature
James O. Young (ed.), Batteux: The Fine Arts Reduced to a Single Principle
Contents
- Close section Front Matter
- Close sectionThe Fine Arts Reduced to a Single Principle
- Epistle Dedicatory
- Preface
- Close sectionPART 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 sectionPART 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 sectionPART THREE: Where the principle of imitation is verified by its application to the various arts
- Close sectionSECTION 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 sectionSECTION 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 sectionSECTION ONE: Poetical art consists in the imitation of belle nature
- Close section End Matter
