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Charles Batteux
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The Fine Arts Reduced to a Single Principle
Epistle Dedicatory
Preface
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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
James O. Young (ed.)
,
Batteux: The Fine Arts Reduced to a Single Principle
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
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