The description mentioned above I will add another remarks. The first is the next: The beautiful in music is not compatible with that strength and violence of sounds that can be used to stir other passions. And neither strident, harsh or too deep notes. Equal and weak. The second remark is the following: the great variety and fast passes from one measure to another, from one tone to another are adverse to the essence of beauty in music. Such passions often stir the joy or other violent and tumultuous emotions; But not that profound sense of collapse, a-end, of the longing that is the characteristic effect of beauty, in terms of all the senses. In fact, beauty stirores a kind of melancholy than joy and risky.
I do not want to limit music to any kind of notes or tones, nor is it an art that I could say I'm good. The only Tel of this observation is to watch a constant idea in the beautiful analysis. The infinite variety of impressions produced on the spirit will suggest an angle and a fine ears all kinds of sounds meant to high. There can be no harm in this regard, to clarify and distinguish some details that hold the same class and fit in between themselves, from the set of different ideas and sometimes contradictory that common minds align under the flag of beauty. And of these, I intend to highlight only those main sounds that show hearing matching with all other senses in terms of their pleasures. Taste SL smell. This general agreement between senses is even better when we take into account the taste and smell.
Metaphorically, we apply the notion of "sweetness" to views and sounds: but because the qualities of the bodies by which they are meant to stir the joy or pain of these senses are not as obvious as in others, we will explain the likeness of them, which is very strong , by the essence of beauty databases that we meet in other senses. I do not think there is a more appropriate way to establish a clear and well-founded idea of visual beauty than to examine similar pleasures of other senses; For a part is sometimes clear to one of the senses, and less descended to another; Where there is a clear research of all we can much more certainty to talk about any of them. In this way they testify for each other. It might be said that nature is examined in the entire retail and we tell me about it than what we receive directly from the sources. Comparison between sublime SL beautiful. And the conclusion of this looks at the beautiful, it is natural to compare it to the sublime; And in this comparison there is a remarkable contrast. For sublime objects are vast as dimensions, the beautiful ones are relatively small; Beauty must be smooth and polished; Marestation must be harsh and negligent; Beauty has to avoid the right line, but to deviate on insanely from it; In many cases, greatness loves the right line, and when it deviates from it, this deviation is often sudden; Beauty should not be obscure; Marestation must be dark and gloomy; Beauty must be easy and delicate; Greatness must be solid and even massive.
In fact, these are notions of a very different nature, one being founded on pain, the other on pleasure; And although they can later deviate from their sources, however, the latter preserves the distinction between them, distinction that should never be forgotten by those who want to awaken feelings or other their fellows. In the endless variety of natural joints we have to look for the traits of the farthest things, reunited within the same object. We also have to expect combinations of the same gender in artworks. But when we think how we think of an object on our senses, we realize that whenever it impresses us through the force of any predominant properties, the impression produced has the chances of being uniform and more desirable if all the other or qualities of the The object is of the same nature and tends to the same goal as the main property: de-Sweets, even white and black faces, do not stay all vivid. If sometimes we find the qualities of sublime and beauty, does it prove the identity between them, proves that the two notions are related in one way or another, even prove that they do not sinks and contradictory? Black and white can be merged, they can combine, but that does not mean bitches of little as it would be the same. And when they are attenuated or joined, between them or other colors, the power of the black is not so black, nor that of the white.
Alba, so vigorous that then dinner each remains uniform and distinct.
* Note: Burke, Edmund -About sublime and beautiful, Meridian Publishing House, 1977