href="@public@vhost@g@gutenberg@html@files@45971@[email protected]#Page_230" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">230

Outline of the Conclusions arrived at

233 PART III. ART CHAPTER X Art and Life

Tolstoy’s Account of the Nature of Art

236

Of the Standard of Art

241

Of the Purpose of Art

241

Criticism of his Conclusions

245 Art, Man’s expression of Life 246

Art and Beauty

251

Order and Change as Principles of Life and Art

253

Classification of the Arts

254 Examples of the Presentative Arts—(a) Architecture 256 (b) Ornament 259 (c) Music 261 The Representative Arts—(a The Plastic Arts 265 (b) Dancing 270

The Evocative Art: Literature

271

The Union of Music and Poetry

272

Conclusion

273 APPENDIX A Sum ergo Cogito 275 APPENDIX B

Co-operation and Competition

279 APPENDIX C

Is Life worth Living?

282 APPENDIX D

St. Francis the Poet

285 APPENDIX E

Isabella and Claudio

288 Index 295

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PARALLEL PATHS

PART I: BIOLOGY

CHAPTER I

THE ARGUMENT FROM DESIGN

“The wisdom of the divine rule is apparent not in the perfection but in the improvement of the world.”—Lord Acton.

PALEY’S Natural Theology though not by any means an epoch-making may perhaps be called an epoch-marking book. It was the crown of the endeavour of eighteenth-century religious philosophy to found a theology on the evidences of external nature. According to such exact knowledge of Nature’s operations as was then generally available, Paley’s attempt might well be thought to have succeeded. He opens his argument with a striking and effective illustration. He imagines a wayfarer crossing a heath who strikes his foot against a stone, and who asks himself how it came into being. Paley thinks he might be content with vaguely supposing that it was there ‘always.’ But suppose that what he had found at his foot was not a stone but a watch and that he now saw such an instrument for the first time. He would then certainly have not been so easily contented with an answer to the riddle of its existence. He would,