Abstract
In the preceding chapter it was noted that the definition of the aesthetic object developed there — viz. an intrinsically valued natural symbol — was an incomplete definition. An obvious deficiency is that it provides no key for recognizing the whole type and character of the natural symbol to be identified as an aesthetic object. The way is left open, therefore, for identifying a mere part of a work of art as the whole aesthetic object. It is left open for accepting an extraneous but accidentally related object as part of the work of art (as sometimes the pianist is applauded rather than his music). And it is not clear whether all or only some intrinsically valued natural symbols are aesthetic objects. We turn, therefore, to consider what objective character the natural symbol must possess in order to become an aesthetic object. The way to a grasp of this specific character lies through a consideration of aesthetic form.
Published Version
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