[209]. Glaser, op. cit., p. 43.
[210]. See Vol. II, pp. 135 et seq.
[211]. The monologue-art of very lonely natures is also in reality a conversation with self in the second person. But it is only in the intellectuality of the megalopolitan stages that the impulse to express is overcome by the impulse to communicate (see Vol. II, p. 135) which gives rise to that tendencious art that seeks to instruct or convert or prove views of a politico-social or moral character, and provokes the antagonistic formula of “Art for Art’s sake”—which is itself rather a view than a discipline, though it does at least serve to recall the primitive significance of artistic expression.
[212]. See Vol. II, pp. 138 et seq., and Worringer, Abstraktion und Einführung, pp. 66 et seq.
[213]. Imitation, being life, is past in the very moment of accomplishment. The curtain falls, and it passes either into oblivion or, if the product is a durable artifact, into art-history. Of the songs and dances of old Cultures nothing remains, of their pictures and poems little. And even this little contains, substantially, only the ornamental side of the original imitation. Of a grand drama there remains only the text, not the image and the sound; of a poem only the words, not the recital; and of all their music the notes at most, not the tone-colours of the instruments. The essential is irrevocably gone, and every “reproduction” is in reality something new and different.
[214]. For the workshop of Thothmes at Tell-el-Amarna, see Mitteilungen der Deutschen Orient-Gesellschaft, No. 52, pp. 28 et seq.
[215]. K. Burdach, Deutsche Renaissance, p. 11. The pictorial art of the Gothic period also has its strict typism and symbolism.
[216]. E. Norden, Antike Kunst-prosa, pp. 8 et seq.
[217]. See Vol. II, p. 323.
[218]. The translation is so far a paraphrase here that it is desirable to reproduce the German original: “Alles Schöne vergeht mit dem Lebenspulsschlag (dessen) der es aus dem kosmischen Takt heraus als solches empfindet.”