part i

. pp. 420-443.

33 See Hume, Essays, ``Essay of Tragedy,'' and the important discussions on the meaning of Aristotle's doctrine of the emotions of tragedy and of emotional purification or ``alleviating discharge', (kathansis) touched on by Bosanquet, op. cit. pp. 64 ff. and 234 ff.

34 That beauty implies a peculiar blending of formal and spiritual (geistige) factors is recognized by H. Riegel, Die bildende Kunste; pp. 16 ff.

35 Human Nature (first part of Tripos), ch. viii. sec. 5 (Molesworth's edition of Works, vol. iv. p. 38).

36 See among others R. Wallascheck, Primitve Music, pp. 270 ff., and Y. Hirn, The Origin of Art, pp. 9 ff.; cf. W. Jerusalem, Einleitung in die Philosophie, pp. 116, 117.

37 The idea of this social utility in aesthetic enjoyment is touched on by Kant, Criticue of Judgment (Bernard's trans.), p. 174; and is more fully worked out by Guyau, L'Art au point de vue sociologique, ch. ii. and iii.; cf. Rutgers Marshall, Aesthetic Principles, pp. 81-82.

38 On the nature of the primitive art-culture, see Rutgers Marshall, Aesthetic Principles, ch. iii.; M. Baldwin, Social and Ethical Interpretations, pp. 151 ff: Y. Hirn, The Origin of Art, ch. ii. On artistic genius and its creative process, see H. Taine, The Philosophy of Art,