Aesthetica

Erecta servetur, uti videbitur, aut erigatur, si quibus aliter modis fieri potest, indoles, M. § 732. ingenio, de quo S. II. rudi relicto, Ethic. § 403. nascentur inde forte, quas § 45 dixi, virtutum umbrae; sed partim pellucens ubique ruditas ingenii motus, quos bonos dixeris, boni cordis, uti loqui solent, deturpabit, § 48. partim aversatus saltem cognitionem pulcram animus, aut eam non sufficienter appetens, ingenium, malis ausibus, eo sinet torpescere, non invitus, § 48. unde nunquam ad pulcre quid cognoscendum allevari denuo possit. § 27.

Let the disposition, once raised, be preserved, as will be seen; or let it be raised, if this can be done in any other ways, Metaphysics, § 732, while the talent of which Section II spoke is left crude, Ethics, § 403. Perhaps there will arise from it those shadows of virtues which I mentioned in § 45; but partly the crudity of the talent, showing through everywhere, will deform the motions of the good heart, as people say, which you might call good, § 48; partly the soul that at least has turned away from beautiful cognition, or does not desire it sufficiently, will let the talent, by bad attempts, grow dull to such an extent, not unwillingly, § 48, that it could never again be raised toward beautifully cognizing anything, § 27.

Erecta servetur, uti videbitur, aut erigatur, si quibus aliter modis fieri potest, indoles, M. § 732. ingenio, de quo S. II. rudi relicto, Ethic. § 403. nascentur inde forte, quas § 45 dixi, virtutum umbrae; sed partim pellucens ubique ruditas ingenii motus, quos bonos dixeris, boni cordis, uti loqui solent, deturpabit, § 48. partim aversatus saltem cognitionem pulcram animus, aut eam non sufficienter appetens, ingenium, malis ausibus, eo sinet torpescere, non invitus, § 48. unde nunquam ad pulcre quid cognoscendum allevari denuo possit. § 27.

Let the disposition, once raised, be preserved, as will be seen; or let it be raised, if this can be done in any other ways, Metaphysics, § 732, while the talent of which Section II spoke is left crude, Ethics, § 403. Perhaps there will arise from it those shadows of virtues which I mentioned in § 45; but partly the crudity of the talent, showing through everywhere, will deform the motions of the good heart, as people say, which you might call good, § 48; partly the soul that at least has turned away from beautiful cognition, or does not desire it sufficiently, will let the talent, by bad attempts, grow dull to such an extent, not unwillingly, § 48, that it could never again be raised toward beautifully cognizing anything, § 27.

Exercitia aesthetica, § 47, erunt 1) αὐτοσχεδιάσματα citra directionem artis eruditae, qua polleat exercendus, suscepta. Huc horridus ille numerus Saturnius, quo priscus Cascorum agricola, fortis et levans animum fesso tempore, § 50,

Aesthetic exercises, § 47, will be 1) improvisations undertaken without the direction of the learned art in which the person to be exercised may be strong. To this belong that rough Saturnian measure in which the ancient farmer of the Casci, strong and lifting his spirit in weary time, § 50,

Hor. Huc generis humani omnia ante artes eruditas inventas pulcrae cognitionis specimina, huc cuiusvis pulcrioris naturae primi igniculi omnem artem antevertentes, quando e.g. sicut Ovidius de se memorat,

Horace. To this belong all the specimens of beautiful cognition of the human race before the learned arts were invented; to this belong the first little sparks of any rather beautiful nature, anticipating every art, when, for example, as Ovid recalls about himself,

Exercitia aesthetica, § 47, erunt 1) αὐτοσχεδιάσματα citra directionem artis eruditae, qua polleat exercendus, suscepta.

Aesthetic exercises, § 47, will be 1) improvisations undertaken without the direction of the learned art in which the person to be exercised may be strong.

Huc horridus ille numerus Saturnius, quo priscus Cascorum agricola, fortis et levans animum fesso tempore, § 50,

To this belong that rough Saturnian measure in which the ancient farmer of the Casci, strong and lifting his spirit in weary time, § 50,

Hor. Huc generis humani omnia ante artes eruditas inventas pulcrae cognitionis specimina, huc cuiusvis pulcrioris naturae primi igniculi omnem artem antevertentes, quando e.g. sicut Ovidius de se memorat,

Horace. To this belong all the specimens of beautiful cognition of the human race before the learned arts were invented; to this belong the first little sparks of any rather beautiful nature, anticipating every art, when, for example, as Ovid recalls about himself,

In aestheticis etiam egregie caveamus, ne ingenium rude ac ineruditum pro iisdem habeamus. Ethic. § 405. Homeri sane, ac Pindari, e.c. sane non rude fuit:

In aesthetics we must also take excellent care not to hold crude talent and unlearned talent as the same things, Ethics, § 405. Certainly the talent of Homer and Pindar, for example, was not crude:

Hor. archetypa tamen artium eruditarum potius fuere, quam ectypa. Potest ineruditum esse ingenii, etiam aesthetici, § 29, admodum politi, § 52. Ethic. § 403. sicut eruditus ingenii, qua pulcritudinem spectat, satis rudis, § 42.

Horace; yet they were archetypes of the learned arts rather than copies. There can be something unlearned in a talent, even an aesthetic one, § 29, that is very polished, § 52, Ethics, § 403, just as a learned man can be rather crude in talent, so far as beauty is concerned, § 42.

In aestheticis etiam egregie caveamus, ne ingenium rude ac ineruditum pro iisdem habeamus. Ethic. § 405. Homeri sane, ac Pindari, e.c. sane non rude fuit:

In aesthetics we must also take excellent care not to hold crude talent and unlearned talent as the same things, Ethics, § 405. Certainly the talent of Homer and Pindar, for example, was not crude:

Hor. archetypa tamen artium eruditarum potius fuere, quam ectypa.

Horace; yet they were archetypes of the learned arts rather than copies.

Potest ineruditum esse ingenii, etiam aesthetici, § 29, admodum politi, § 52. Ethic. § 403. sicut eruditus ingenii, qua pulcritudinem spectat, satis rudis, § 42.

There can be something unlearned in a talent, even an aesthetic one, § 29, that is very polished, § 52, Ethics, § 403, just as a learned man can be rather crude in talent, so far as beauty is concerned, § 42.

Sicuti musicam Leibnitius dixit exercitium arithmeticum, numerare se nescientis animae: sic etiam per exspectationem casuum similium, et inde veluti connatam imitationem primam, nescius adhuc paene se cogitare, multo magis se pulcre cogitare, iam exerceatur infans, bona fortuna si quis educandus incidit in manum artificis, qui os tenerum pueri figurat, ac balbum. § 37.

Just as Leibniz called music an arithmetical exercise of a soul not knowing that it is counting, so too, through the expectation of similar cases, and from that through a first imitation as if innate, the infant is already being exercised, though he still scarcely knows that he is thinking, much less that he is thinking beautifully - with good fortune, if the one to be educated falls into the hand of an artist who shapes the tender and stammering mouth of the boy, § 37.

§§ 50, 45.

§§ 50, 45.

§§ 31, 32, 35. orientia tempora, § 36. notis § 30. Instruit exemplis, § 32, e.c. Hor. L. II. ep. 1. v. 126.

§§ 31, 32, 35; "the rising times," § 36; "with known examples," § 30; "he instructs with examples," § 32, and so forth, Horace, Book II, Epistle 1, verse 126.

Sicuti musicam Leibnitius dixit exercitium arithmeticum, numerare se nescientis animae: sic etiam per exspectationem casuum similium, et inde veluti connatam imitationem primam, nescius adhuc paene se cogitare, multo magis se pulcre cogitare, iam exerceatur infans, bona fortuna si quis educandus incidit in manum artificis, qui os tenerum pueri figurat, ac balbum. § 37.

Just as Leibniz called music an arithmetical exercise of a soul not knowing that it is counting, so too, through the expectation of similar cases, and from that through a first imitation as if innate, the infant is already being exercised, though he still scarcely knows that he is thinking, much less that he is thinking beautifully - with good fortune, if the one to be educated falls into the hand of an artist who shapes the tender and stammering mouth of the boy, § 37.

§§ 50, 45.

§§ 50, 45.

§§ 31, 32, 35. orientia tempora, § 36. notis § 30. Instruit exemplis, § 32, e.c. Hor. L. II. ep. 1. v. 126.

§§ 31, 32, 35; "the rising times," § 36; "with known examples," § 30; "he instructs with examples," § 32, and so forth, Horace, Book II, Epistle 1, verse 126.

Exerceatur ingenium natura pulcrum porro, iamque semet ipsum exercet apertius, § 54, etiamsi nesciat, quid agat, dum confabulatur puer, dum ludit, praesertim ubi ludorum inventor est, aut parvulus director inter commilitones, iisque gnaviter intentus iam sudat, et multa fert, multa facit, dum videt, dum audit, dum legit, quae pulcre intelligat; modo dirigantur talia omnia secundum §§ 49–51, ut aesthetica sint exercitia, § 47.

Let the talent that is beautiful by nature be further exercised, and it already exercises itself more openly, § 54, even if it does not know what it is doing, while the boy converses, while he plays, especially when he is the inventor of games, or a little director among his comrades, and, already earnestly intent on them, sweats, bears many things and does many things; while he sees, while he hears, while he reads things that he may understand beautifully - provided that all such things are directed according to §§ 49–51, so that they may be aesthetic exercises, § 47.

Exerceatur ingenium natura pulcrum porro, iamque semet ipsum exercet apertius, § 54, etiamsi nesciat, quid agat, dum confabulatur puer, dum ludit, praesertim ubi ludorum inventor est, aut parvulus director inter commilitones, iisque gnaviter intentus iam sudat, et multa fert, multa facit, dum videt, dum audit, dum legit, quae pulcre intelligat; modo dirigantur talia omnia secundum §§ 49–51, ut aesthetica sint exercitia, § 47.

Let the talent that is beautiful by nature be further exercised, and it already exercises itself more openly, § 54, even if it does not know what it is doing, while the boy converses, while he plays, especially when he is the inventor of games, or a little director among his comrades, and, already earnestly intent on them, sweats, bears many things and does many things; while he sees, while he hears, while he reads things that he may understand beautifully - provided that all such things are directed according to §§ 49–51, so that they may be aesthetic exercises, § 47.

Fallimur adulti etiam non raro, quando legendo vel audiendo pulcre dicta, vel scripta, e.c. pulcre ea intelligimus, eorumque pulcritudinem intuemur et quasi gustamus, § 35, ut auctori quidem: pulcre! bene! recte, taciti intra nos acclamemus, neque tamen nos cum ipso simul imitando pulcre cogitare satis animadvertamus. Hinc exercitium aestheticum maius est, ac plerumque videtur, § 54, exemplaria bellissimorum auctorum

We adults are also deceived not rarely when, by reading or hearing beautifully spoken or written things, for example, we understand them beautifully, and behold their beauty and as it were taste it, § 35, so that silently within ourselves we applaud the author: "beautifully! well! rightly!" and yet do not sufficiently notice that we ourselves, at the same time and by imitating him, are thinking beautifully. Hence it is a greater aesthetic exercise than it commonly seems, § 54, to handle the models of the most beautiful authors "by night with the hand, to handle them by day," § 54.

Hor.

Horace.

Fallimur adulti etiam non raro, quando legendo vel audiendo pulcre dicta, vel scripta, e.c. pulcre ea intelligimus, eorumque pulcritudinem intuemur et quasi gustamus, § 35, ut auctori quidem: pulcre! bene! recte, taciti intra nos acclamemus, neque tamen nos cum ipso simul imitando pulcre cogitare satis animadvertamus.

We adults are also deceived not rarely when, by reading or hearing beautifully spoken or written things, for example, we understand them beautifully, and behold their beauty and as it were taste it, § 35, so that silently within ourselves we applaud the author: "beautifully! well! rightly!" and yet do not sufficiently notice that we ourselves, at the same time and by imitating him, are thinking beautifully.

Hinc exercitium aestheticum maius est, ac plerumque videtur, § 54, exemplaria bellissimorum auctorum

Hence it is a greater aesthetic exercise than it commonly seems, § 54, to handle the models of the most beautiful authors "by night with the hand, to handle them by day," § 54.

Hor.

Horace.

Per se patet maiora iam exercitia maiores vires et dare et testari αὐτοσχεδιάσματα εὐφυσικά, quae proprio Marte fundit animus αὐτόματος, quando iam sine cortice natare vel doctus §§ 54–56 vel natus est, § 53.

It is evident of itself that greater exercises both give and testify to greater powers: well-natured improvisations, which the mind, of its own force, pours out spontaneously, when it has already either learned to swim without cork, §§ 54–56, or has been born able to do so, § 53.

Per se patet maiora iam exercitia maiores vires et dare et testari αὐτοσχεδιάσματα εὐφυσικά, quae proprio Marte fundit animus αὐτόματος, quando iam sine cortice natare vel doctus §§ 54–56 vel natus est, § 53.

It is evident of itself that greater exercises both give and testify to greater powers: well-natured improvisations, which the mind, of its own force, pours out spontaneously, when it has already either learned to swim without cork, §§ 54–56, or has been born able to do so, § 53.

Exercitia aesthetica erunt 2) correctiora ac certiora, si accesserit ad connatam S. II. et acquisitam aestheticam naturalem, dominam naturam, § 2, ars erudita, §§ 47–57. sine qua ingenia pulcra quidem, neque tamen divina, viam ad elegantias cognitionis saepe experiantur,

Aesthetic exercises will be 2) more correct and more certain, if learned art, §§ 47–57, has been added to natural aesthetics, both innate, Section II, and acquired, to mistress Nature, § 2. Without this art, talents that are indeed beautiful, yet not divine, often try the way to the elegances of cognition

Virg.

Virgil.

Exercitia aesthetica erunt 2) correctiora ac certiora, si accesserit ad connatam S. II. et acquisitam aestheticam naturalem, dominam naturam, § 2, ars erudita, §§ 47–57. sine qua ingenia pulcra quidem, neque tamen divina, viam ad elegantias cognitionis saepe experiantur,

Aesthetic exercises will be 2) more correct and more certain, if learned art, §§ 47–57, has been added to natural aesthetics, both innate, Section II, and acquired, to mistress Nature, § 2. Without this art, talents that are indeed beautiful, yet not divine, often try the way to the elegances of cognition

Virg.

Virgil.

Utrumque genus exercitiorum, §§ 52, 58, quotiescunque pulcram cognitionem exercendus efficienter decernit, non ingenium solum, sed et indolem et temperamentum aestheticum in habitum deducit et consuetudine confirmat, § 45, intendens connatam pectoris magnitudinem, § 46. M. § 247.

Each kind of exercise, §§ 52, 58, whenever the one to be exercised efficiently determines beautiful cognition, brings not talent alone, but also disposition and aesthetic temperament, into habit and confirms them by custom, § 45, intensifying the innate greatness of heart, § 46, Metaphysics, § 247.

Utrumque genus exercitiorum, §§ 52, 58, quotiescunque pulcram cognitionem exercendus efficienter decernit, non ingenium solum, sed et indolem et temperamentum aestheticum in habitum deducit et consuetudine confirmat, § 45, intendens connatam pectoris magnitudinem, § 46. M. § 247.

Each kind of exercise, §§ 52, 58, whenever the one to be exercised efficiently determines beautiful cognition, brings not talent alone, but also disposition and aesthetic temperament, into habit and confirms them by custom, § 45, intensifying the innate greatness of heart, § 46, Metaphysics, § 247.

Aesthetica dynamica s. critica virium dati hominis ad datam datae cognitionis pulcritudinem assequendam, connatas naturae vires metiri nequit, nisi ex effectibus, exercitiis, § 27. ubi iuste sic concluditur: Tantum est autoschediasma, tantum specimen dati hominis; ergo tanta etiam eius est connata natura, quae accedentibus praeviis exercitiis eo pertingere potuerit. M. § 57. Neque tamen aeque bene saepius infertur: Ad tantum autoschediasma, vel specimen vires dati hominis, uti nunc sunt, non suffecere; ergo destituitur connascenda ad meditationes eiusmodi natura, M. § 60.

Dynamic aesthetics, or the critique of the powers of a given human being for attaining a given beauty of a given cognition, cannot measure the innate powers of nature except from effects, namely exercises, § 27. There one rightly concludes thus: Such is the improvisation, such the specimen of a given person; therefore such also is his innate nature, which, with preceding exercises added, could have reached that point, Metaphysics, § 57. Yet it is often not inferred equally well: The powers of the given person, as they now are, did not suffice for such an improvisation or specimen; therefore he is destitute of a nature connate for meditations of this sort, Metaphysics, § 60.

Aesthetica dynamica s. critica virium dati hominis ad datam datae cognitionis pulcritudinem assequendam, connatas naturae vires metiri nequit, nisi ex effectibus, exercitiis, § 27. ubi iuste sic concluditur: Tantum est autoschediasma, tantum specimen dati hominis; ergo tanta etiam eius est connata natura, quae accedentibus praeviis exercitiis eo pertingere potuerit. M. § 57. Neque tamen aeque bene saepius infertur: Ad tantum autoschediasma, vel specimen vires dati hominis, uti nunc sunt, non suffecere; ergo destituitur connascenda ad meditationes eiusmodi natura, M. § 60.

Dynamic aesthetics, or the critique of the powers of a given human being for attaining a given beauty of a given cognition, cannot measure the innate powers of nature except from effects, namely exercises, § 27. There one rightly concludes thus: Such is the improvisation, such the specimen of a given person; therefore such also is his innate nature, which, with preceding exercises added, could have reached that point, Metaphysics, § 57. Yet it is often not inferred equally well: The powers of the given person, as they now are, did not suffice for such an improvisation or specimen; therefore he is destitute of a nature connate for meditations of this sort, Metaphysics, § 60.

Aesthetico dynamico saepe opus erit tentaminibus (periculis) aestheticis, exercitiis ideo; inter alia, decretis, ut experiatur, an vires dati hominis, et quantae ad datam pulcram cognitionem sufficiant, M. § 697. Tunc si bene procedunt tentamina, experientia affirmativa vires suffecisse satis recte se habet, § 60, si minus procedant, non semper naturae defectus est in caussa, multo minus a defectu cuiusdam specialis forte characteris aesthetici ad datum periculum requisiti, ad defectum generalis etiam, aliorumve forte specialium valet consequentia, § 27. Ciceronis pericula poetica, Ovidii ac Horatii pericula epopoeiae non bene successerunt.

The dynamic aesthetician will often need aesthetic attempts or trials, and therefore exercises; among other things, determined ones, so that he may test whether, and how far, the powers of a given human being suffice for a given beautiful cognition, Metaphysics, § 697. Then, if the attempts proceed well, affirmative experience that the powers have sufficed is quite rightly accepted, § 60. But if they proceed less well, a defect of nature is not always the cause; much less does an inference hold from the defect of some perhaps special aesthetic character required for the given trial to a defect also of the general character, or perhaps of other special characters, § 27. Cicero's poetic trials and Ovid's and Horace's trials at epic did not succeed well.

Aesthetico dynamico saepe opus erit tentaminibus (periculis) aestheticis, exercitiis ideo; inter alia, decretis, ut experiatur, an vires dati hominis, et quantae ad datam pulcram cognitionem sufficiant, M. § 697. Tunc si bene procedunt tentamina, experientia affirmativa vires suffecisse satis recte se habet, § 60, si minus procedant, non semper naturae defectus est in caussa, multo minus a defectu cuiusdam specialis forte characteris aesthetici ad datum periculum requisiti, ad defectum generalis etiam, aliorumve forte specialium valet consequentia, § 27. Ciceronis pericula poetica, Ovidii ac Horatii pericula epopoeiae non bene successerunt.

The dynamic aesthetician will often need aesthetic attempts or trials, and therefore exercises; among other things, determined ones, so that he may test whether, and how far, the powers of a given human being suffice for a given beautiful cognition, Metaphysics, § 697. Then, if the attempts proceed well, affirmative experience that the powers have sufficed is quite rightly accepted, § 60. But if they proceed less well, a defect of nature is not always the cause; much less does an inference hold from the defect of some perhaps special aesthetic character required for the given trial to a defect also of the general character, or perhaps of other special characters, § 27. Cicero's poetic trials and Ovid's and Horace's trials at epic did not succeed well.

Ad characterem felicis aesthetici generalem, § 27, requiritur III.) mathesis et disciplina aesthetica, theoria perfectionis in materiam et formam pulcrae cognitionis propius influentium, ac ea per naturam solam, et solum eius usum impetrari solet, severioribus iam exercitiis in usum deducenda, ne vagetur habitus ex rerum cogitandarum, vel ex regularum earumque rationum ignorantia vel incertitudine, cogitetur licenter, aut omnes visuros peccata sua putans, quae tamen ipse nesciat, ab ipso pulcrae meditationis usu deterreatur, §§ 47, 48.

For the general character of the happy aesthetician, § 27, there is required III) learning and aesthetic discipline: a theory of those perfections that more closely influence the matter and form of beautiful cognition, and of those things which are usually obtained by nature alone and by its use alone, now to be brought into use by stricter exercises, lest habit wander because of ignorance or uncertainty about the things to be thought, or about rules and their reasons; lest one think licentiously; or lest, thinking that all will see his faults, which nevertheless he himself does not know, he be deterred from the very use of beautiful meditation, §§ 47, 48.

Ad characterem felicis aesthetici generalem, § 27, requiritur III.) mathesis et disciplina aesthetica, theoria perfectionis in materiam et formam pulcrae cognitionis propius influentium, ac ea per naturam solam, et solum eius usum impetrari solet, severioribus iam exercitiis in usum deducenda, ne vagetur habitus ex rerum cogitandarum, vel ex regularum earumque rationum ignorantia vel incertitudine, cogitetur licenter, aut omnes visuros peccata sua putans, quae tamen ipse nesciat, ab ipso pulcrae meditationis usu deterreatur, §§ 47, 48.

For the general character of the happy aesthetician, § 27, there is required III) learning and aesthetic discipline: a theory of those perfections that more closely influence the matter and form of beautiful cognition, and of those things which are usually obtained by nature alone and by its use alone, now to be brought into use by stricter exercises, lest habit wander because of ignorance or uncertainty about the things to be thought, or about rules and their reasons; lest one think licentiously; or lest, thinking that all will see his faults, which nevertheless he himself does not know, he be deterred from the very use of beautiful meditation, §§ 47, 48.

Ad disciplinam aestheticam pertinet 1) omnis pulcra eruditio, i.e. eruditio, quatenus obiectorum, de quibus pulcre cogitandum aliquando sit, cognitionem inerudita meliorem exhibet, qua imbutum ingenium naturaliter pulcrum, exercitationibusque quotidianis excitatum, qua motum, qua affectum, et incoctum, uti Persius habet, pectus aestheticum, felicius in datum thema pulcre cogitandum consentire possint, §§ 62, 47.

To aesthetic discipline belongs 1) all beautiful erudition, that is, erudition insofar as it offers a cognition of objects, about which at some time one must think beautifully, better than an unlearned cognition; by it a naturally beautiful talent, imbued and stirred by daily exercises, and the aesthetic breast, moved, affected, and, as Persius has it, steeped, may more happily agree upon a given theme to be beautifully thought, §§ 62, 47.

Ad disciplinam aestheticam pertinet 1) omnis pulcra eruditio, i.e. eruditio, quatenus obiectorum, de quibus pulcre cogitandum aliquando sit, cognitionem inerudita meliorem exhibet, qua imbutum ingenium naturaliter pulcrum, exercitationibusque quotidianis excitatum, qua motum, qua affectum, et incoctum, uti Persius habet, pectus aestheticum, felicius in datum thema pulcre cogitandum consentire possint, §§ 62, 47.

To aesthetic discipline belongs 1) all beautiful erudition, that is, erudition insofar as it offers a cognition of objects, about which at some time one must think beautifully, better than an unlearned cognition; by it a naturally beautiful talent, imbued and stirred by daily exercises, and the aesthetic breast, moved, affected, and, as Persius has it, steeped, may more happily agree upon a given theme to be beautifully thought, §§ 62, 47.

Pulcrae eruditionis potiores partes sunt disciplinae, deum, universum, hominem, qua statum praesertim moralem, historias, nec exclusis quidem mythicis, et antiquitates, signorumque genium exhibentes, § 63.

The more important parts of beautiful erudition are disciplines that present God, the universe, the human being - especially with respect to the moral state - histories, with mythical histories certainly not excluded, antiquities, and the genius of signs, § 63.

Pulcrae eruditionis potiores partes sunt disciplinae, deum, universum, hominem, qua statum praesertim moralem, historias, nec exclusis quidem mythicis, et antiquitates, signorumque genium exhibentes, § 63.

The more important parts of beautiful erudition are disciplines that present God, the universe, the human being - especially with respect to the moral state - histories, with mythical histories certainly not excluded, antiquities, and the genius of signs, § 63.

In disciplinarum eiusmodi doctrina aestheticus tantum eam curat perfectionem, quae fiat in pulcre meditandis phaenomenon, §§ 14, 15. partim negative, dum dat vitare paroramata deturpantia, partim positive, dum unica saepe phrasi vel signo satis brevi cogit eruditum lectorem spectatoremve magna quaevis ab auctore tantae doctrinae exspectare, licet dissimulet erudita plura per exceptionem non inelegantem, §§ 48, 25.

In the doctrine of disciplines of this sort the aesthetician cares only for that perfection which becomes a phenomenon in things beautifully meditated, §§ 14, 15: partly negatively, when it gives him to avoid deforming oversights; partly positively, when by a single phrase or by a sufficiently brief sign it often compels the learned reader or spectator to expect any great things from an author of such great learning, although he conceals many learned matters through an exception that is not inelegant, §§ 48, 25.

In disciplinarum eiusmodi doctrina aestheticus tantum eam curat perfectionem, quae fiat in pulcre meditandis phaenomenon, §§ 14, 15. partim negative, dum dat vitare paroramata deturpantia, partim positive, dum unica saepe phrasi vel signo satis brevi cogit eruditum lectorem spectatoremve magna quaevis ab auctore tantae doctrinae exspectare, licet dissimulet erudita plura per exceptionem non inelegantem, §§ 48, 25.

In the doctrine of disciplines of this sort the aesthetician cares only for that perfection which becomes a phenomenon in things beautifully meditated, §§ 14, 15: partly negatively, when it gives him to avoid deforming oversights; partly positively, when by a single phrase or by a sufficiently brief sign it often compels the learned reader or spectator to expect any great things from an author of such great learning, although he conceals many learned matters through an exception that is not inelegant, §§ 48, 25.

Huc non referimus pueriles quasvis institutiones, § 54, non tumultuariam in disciplinis tractandorum notitiam, usu, vaga lectione, auditionibusque promiscuis comparatam, de qua S. III, sed methodicam et virilem eorundem peritiam, quantumcunque perfectam, quoniam illa magis, sed et eatenus tantum, quatenus magis efficit § 65 commemorata.

We do not refer here any childish instructions, § 54, nor a disorderly acquaintance, in the disciplines of things to be treated, acquired by use, wandering reading, and promiscuous hearings, of which Section III spoke, but a methodical and manly expertise in those same things, however perfected, since that expertise does more - but only so far as it more effectively produces the things mentioned in § 65.

Huc non referimus pueriles quasvis institutiones, § 54, non tumultuariam in disciplinis tractandorum notitiam, usu, vaga lectione, auditionibusque promiscuis comparatam, de qua S. III, sed methodicam et virilem eorundem peritiam, quantumcunque perfectam, quoniam illa magis, sed et eatenus tantum, quatenus magis efficit § 65 commemorata.

We do not refer here any childish instructions, § 54, nor a disorderly acquaintance, in the disciplines of things to be treated, acquired by use, wandering reading, and promiscuous hearings, of which Section III spoke, but a methodical and manly expertise in those same things, however perfected, since that expertise does more - but only so far as it more effectively produces the things mentioned in § 65.

Neque tamen aestheticum polyhistora postulamus vel pansophum, quoniam character generalis tantum eruditionem generatim postulat, in ea pulcrae cognitionis specie, in qua quis excellere cogitat, character specialis partes eo propius facientes eruditionis curatius determinabit, in quibus hospitem esse dedecet, hanc cognitionis pulcrae speciem qui sibi colendam sumpserit, § 27.

And yet we do not demand that the aesthetician be a polymath or a pansophist, since the general character requires only erudition generally. In that species of beautiful cognition in which someone intends to excel, the special character will more carefully determine the parts of erudition that more closely contribute to it; in these it is shameful for one to be a guest, if he has undertaken to cultivate this species of beautiful cognition for himself, § 27.

Neque tamen aestheticum polyhistora postulamus vel pansophum, quoniam character generalis tantum eruditionem generatim postulat, in ea pulcrae cognitionis specie, in qua quis excellere cogitat, character specialis partes eo propius facientes eruditionis curatius determinabit, in quibus hospitem esse dedecet, hanc cognitionis pulcrae speciem qui sibi colendam sumpserit, § 27.

And yet we do not demand that the aesthetician be a polymath or a pansophist, since the general character requires only erudition generally. In that species of beautiful cognition in which someone intends to excel, the special character will more carefully determine the parts of erudition that more closely contribute to it; in these it is shameful for one to be a guest, if he has undertaken to cultivate this species of beautiful cognition for himself, § 27.