ABSTRACT
The special refinement of hedonistic theory which used to be pompously called the doctrine of the overcoming of the ugly falls with the Aesthetic of the sympathetic, and with it the enumeration and definition of the concepts, which show themselves to be completely foreign to Aesthetic. The facts, classified as far as possible in the psychological concepts, bear no relation to the artistic fact, beyond the general one, that all of them, in so far as they constitute the material of life, can become the object of artistic representation; and the other, an accidental relation, that aesthetic facts also may sometimes enter the processes described, such as the impression of the sublime aroused by the work of a Titanic artist, such as Dante or Shakespeare, and of the comic produced by the attempts of a dauber or scribbler.
