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The Psychology of Beauty by Ethel Dench Puffer Howes
page 70 of 236 (29%)
impulses are turned to one end, in relation to which nothing
else exists.

I am aware that many will see a sharp distinction here between
the work of the creator or discoverer in science and the artist.
They may maintain, in Schopenhauer's phrase, that the aim and
end of science is just the connection of objects in the service
of the will of the individual, and hence transition between the
various terms is constant; while art, on the other hand, indeed
isolates its object, and so drops transitions. But I think
where we speak of "connection" thus, we mean the larger sweep
of law. If the thinker looks beyond his special problem at
all, it is, like Buddha, to "fix his eyes upon the chain of
causation." The scientist of imagination sees his work under
the form of eternity, as one link of that endless chain, one
atom in that vortex of almighty purposes, which science will
need all time to reveal. For him it is either one question,
closed within itself by its own answer, or it is the Infinite
Law of the Universe,--the point or the circle. From all points
of view, then, the object of creation in art or science is a
girdle of impulses from which the mind may not stray. The two
conditions of our formal scheme are given: a term which
disappears, and one which is a perfect whole. Transition
between background and foreground has dropped. Between the
objects of attention in the foreground it has no meaning,
because the foreground is an indissoluble unity. With that
object the self must feel itself one, since the distinctive
self-feeling has disappeared with the opportunity for transition.

We have thus swung around the circle of mystical, aesthetic,
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