Let me attempt a drastic summary, or symbolic reduction, of Mr. Foss's adeptly metaphorical exposition. The use of the copula is, implicit in the appositive series, will do some violence to the complexity of the argument, but since causes and parts are frowned on by the same argument, the simpler arrangement cannot be altogether out of keeping. In logical and grammatical terms, we have on two sides of a profound ledger: "symbolic reduction," the divisive subject and predicate,--and "metaphoric process," the (...) underlying and unifying energy of the proposition, the subjectum. The negations of dialectic operate to show the insufficiency of symbolic concepts and are the "door to philosophic truth." And in ontological terms, we have on the one hand number, time, space, cause and effect, coincidence and contingency; and on the other the different, the naught, the apeiron, the potential, the tension of process, freedom and necessity in metaphoric lawful unity. There are two closely similar extremes of reduction between which one locates the transcendent philosophy of metaphor: that of sensationalism, the philosophy of the brute and atomic, and that of rationalism, the philosophy of expedient action. And in more or less theological terms, we have on the one hand the environment and its complement the ego, purposive and possessive; on the other, World, the I and the Thou, prayer, sin and grace in the metaphorical unity of consciousness, the widening power of personality in intercession or metaphorical representation. On the one hand, birth and death, past and future, and a present extending ad libitum into either; on the other, the eternal present of the integrated process stretching over past and future, expressed in its purest form in art. And so in aesthetic terms: on the one hand catharsis, a rationalized mixture of the ego's pleasure and pain, asceticism and hedonism, play; on the other, drama--especially tragedy, which par excellence action--Eudaimonia, purification, artistic distance, stylization, imagination, conscience, love. On the one hand, comedy in the sense of farce, environment symbolically reduced, actions and persons according to type, the mechanism of means and ends, rules, rituals, tricks, chance, the caricature of symbolic fixation--producing laughter: on the other hand, true and great comedy, the attempt to understand life in all its contradictions, producing the smile. (shrink)

It would therefore be reasonable to undertake a description and appreciation of this book precisely in its character as a dialectical dictionary or magazine of aesthetic issues and arguments. One could conduct a guided tour, stopping to admire the fullness of information, or fertility of invention, and the nicely graded series of the ideas collected in this locus or that, or in some area where one happened to be well enough informed, noting the omissions. One might even raise a theoretical (...) question about this whole aspect of the work, starting with the author's bald assertion: "What I have written is, simply and literally, a guide to aesthetics—a guide to the structure and problems of the subject, not to its literature." His "approach," he says, "is systematic, not historical." He "mentions names," but he says he is "not concerned much with who first said what," and his references are not always to the "earliest or best exponents of the views they illustrate". Much of the literature he says he has not read and does not mean to read. One who has himself not read all of the aesthetic literature can hardly object to this very strenuously. (shrink)