By George Boas
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Extra resources for A Primer For Critics
What are its causes and peculiarities does its not concern us. It is enough for our purposes to insist that when one looks at Rembrandt's Mill or a Picasso abstraction, when one Du de chez Swann or the Wasteland, one be not asked to find in them what the artists say they have reads cdte The put in them. values which the observer discovers are his discovery, not necessarily the this were not so, it artist's intention. If would be even more difficult than it for us to enjoy foreign and ancient works of art.
A) The instrumental value of artistry must first be discussed from the artist's, second from the observer's point of view. From artist the knows believes point of view, it is assumed that the his end and chooses the means which he artist's most adequate he chooses to its attainment. These means in relative freedom. His freedom only relative because of certain customary restrictions, restrictions which are largely conventional, but have the compelling force of habit or tradition. is Among them may be mentioned those of ele- gance and economy to begin with.
Tragedy, comedy, melodrama, etc, but to do this within certain re- determined by the whole social complex in which he lives and cannot be understood or appreciated by one who is not of that social strictions. These restrictions are in part complex. A Greek in tragic writer, for instance, differed almost completely same He field. one particular from a modern writer in the took plots which were traditional and members of his audience. His inven- familiar to all the tion lay in the field of poetry, in character delineation, in making the tragic outcome explicable.