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By Lara-Vinca Masini

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The term is deliberately vague because the nature of the phe­ � nom na it covers is quite complicated and impossible to cap­ ture m a word or two. It is a major task of this chapter to . clarify the nature of these subjective factors. " In these statements it is important to note that the respective subjective factor is not designated by an ad­ jective applied to the work in question. I shall argue, more­ over, that in none of the cases could the sense of the state­ ment even be translated in such a way that an appropriate a�thropomorphic predicate is applied to the work in ques­ tion.

Ating the object "as I sec it," as the individual person 52 53 THE MIND IN ART THE MIND IN ART everything here---even the most surprising distortions observes it as a form of appearance. Rather, if one -hangs together and co-operates in the realization of may use a negative expression, it is to be re�created the idea. 6 in the way the eyebrows are just indicated upon the Here the "attitude" characteristic of High Renaissance art curve of the brow. e. " Friedlaender's description of the Mannerist "atti­ ble quality of the human spirit coloured, as almost tude,"' however, is quite different.

And she was right in sensing their relation to the expressive content of Bartok's music. It is here, I think that his nobility of soul is most impressive. The despair in his quartets is no personal maladjustment. It is a realistic facing of the human condition, the state of man as a moral animal, as this was perceptible to a musician of high moral sensibilities just come out of Hungary. No other musician of our cenhiry has faced its hor­ rors quite so frankly. The quartets of Bartok have a sincerity, indeed, and a natural elevation that are well­ nigh unique in the history of music.

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