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Directions: Read the given passage carefully and answer the question as follow.
The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.
First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.
Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.
Q. Which of the following can be inferred about Schiller from the passage?
  • a)
    He considered natural beauty inferior to man-made beauty
  • b)
    A majority of his works are related to aesthetics
  • c)
    He lived at the same time as several other great philosophers
  • d)
    His work was more concerned with beauty that was the offspring of the mind
  • e)
    He was against excluding natural beauty from the realm of aesthetics
Correct answer is option 'B'. Can you explain this answer?
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Directions: Read the given passage carefully and answer the question a...
The passage mentions Schiller only in the first line and ‘greater part’ is the same as ‘majority’, so the correct answer should be (B).
(A) This is true for philosophers in general but may or may not be true for Schiller.
(C) The passage never states this.
(D) Again, true for other philosophers but may or may not be true for Schiller.
(E) The passage never states this.
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Most Upvoted Answer
Directions: Read the given passage carefully and answer the question a...
The passage mentions Schiller only in the first line and ‘greater part’ is the same as ‘majority’, so the correct answer should be (B).
(A) This is true for philosophers in general but may or may not be true for Schiller.
(C) The passage never states this.
(D) Again, true for other philosophers but may or may not be true for Schiller.
(E) The passage never states this.
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Directions: Read the given passage carefully and answer the question a...
Explanation:

Majority of his works are related to aesthetics:
- The passage mentions that the greater part of the letters and essays of Schiller is about aesthetics.
- This indicates that Schiller had a significant focus on aesthetics in his works.
Therefore, it can be inferred that option B, which states that a majority of his works are related to aesthetics, is accurate based on the information provided in the passage.
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Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q.Which of the following CANNOT be inferred from the passage?

Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q.According to the passage, why is natural beauty considered inferior to man-made beauty?

Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q.Which of the following assertions is best supported by the information in the passage?

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye andIsaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary historyand criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or thebranch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated fromthe practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them shouldshape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives ofordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of artand beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive thanconclusive.Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radicalskepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have acertain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because ithas paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.According to the romantics, aesthetics

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye andIsaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary historyand criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or thebranch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated fromthe practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them shouldshape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives ofordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of artand beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive thanconclusive.Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radicalskepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have acertain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because ithas paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.Which one of the following statements is NOT supported by the passage?

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Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer?
Question Description
Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer? for GMAT 2024 is part of GMAT preparation. The Question and answers have been prepared according to the GMAT exam syllabus. Information about Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer? covers all topics & solutions for GMAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer?.
Solutions for Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for GMAT. Download more important topics, notes, lectures and mock test series for GMAT Exam by signing up for free.
Here you can find the meaning of Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer?, a detailed solution for Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer? has been provided alongside types of Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Directions: Read the given passage carefully and answer the question as follow.The special subject of the greater part of the letters and essays of Schiller is Aesthetics, and before passing any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some this definition may seem arbitrary, as excluding the beautiful in nature, but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind’s offspring.Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.Q. Which of the following can be inferred about Schiller from the passage?a)He considered natural beauty inferior to man-made beautyb)A majority of his works are related to aestheticsc)He lived at the same time as several other great philosophersd)His work was more concerned with beauty that was the offspring of the minde)He was against excluding natural beauty from the realm of aestheticsCorrect answer is option 'B'. Can you explain this answer? tests, examples and also practice GMAT tests.
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