Denton Jaques Snider.

Music and the fine arts; a psychology of aesthetic online

. (page 32 of 32)
Online LibraryDenton Jaques SniderMusic and the fine arts; a psychology of aesthetic → online text (page 32 of 32)
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MtjSIG. 449

If Music wings us to the overwork!, it
lias also the power to tap the vast under-
world within us not yet risen to conscious-
ness, the long vague era before worded
speech even, the sunken tract of remote life
wdth its far-off intimations, with its unde-
fined and indefinable stirrings of the soul,
perchance pre-human inheritances. The
great development of Music in the Nineteenth
Century has its parallel with the new doc-
trine of man's pristine evolution belonging
to the same century.

/ Music, as it arises out of a great multi-
/plicity notably in the Orchestra, has a rela-
tion to the universe, which means literally in
the Latin compound, the turned to One, or the
returning to One out of the Many, or out
of the Multiverse. Time, the elemental di-
vider with all its divided contents, is turned
back into itself by Music (mark the symbol
thereof in the conductor beating tempo). So
we may conceive Music to play the Multi-
verse ever returning to the Universe, when
the Art reaches its ultimate sovereignty.

Still another thought in this connection:
the Universe with its round of God, World
and Man shows a peculiar correspondence
with the round of the Fine Arts. For in-
stance the Somatic Arts are most directly the
God- Arts, bringing down God immediately
to vision in the human body ; Architecture on


the other hand with its lieavy masses is more
cosmical, or a AVorld-Art, giving no direct
image of tlie Divine, though it may so do in-
directly; Music with its process is more dis-
tinctively the Man-Art which gives the
human Psychosis rising to the divine at its
best. Still we are not to forget that each of
these Fine Arts within itself is a Theophany
in its creative supremacy (as often stated in
the foregoing account) while the three as
stages correspond to the round of the Uni -
verse, God, World, Man. Each part by it-
self is an image of the Whole, yet the three
parts together image the process of the
Whole, and thus reveals the grandest The-
ophany of Art.

We may use three ways of stating the
round of the Fine Arts as they interlink
their first and last : Sculpture represents the
God humanizing, while Music represents the
Man divinizing; or Sculpture represents the
universal becoming individual, while Music
represents the individual becoming univer-
sal; or Sculpture represents the All-Self de-
scending into the finite Self, while Music rep-
resents the finite Self with its process (the
Psychosis) rising to unity with the All-Self
(Pampsychosis). So we may think, by
means of various sets of categories, religious,
philosophical and psychological, the cycle of
the Fine Arts in its supreme content.

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Online LibraryDenton Jaques SniderMusic and the fine arts; a psychology of aesthetic → online text (page 32 of 32)