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Moral Philosophy by S. J. Joseph Rickaby
page 82 of 356 (23%)
3. A true work of art cannot be added to or taken from without
spoiling it. A perfect church would be spoiled by a lengthening of the
chancel or raising the tower, albeit there are buildings, secular and
ecclesiastical, that might be drawn out two miles long and not look
any worse. The colouring of a picture must not be too violent and
positive; but artistic colouring must be chaste, and artistic
utterance gentle, and artistic action calm and indicative of
self-command. Not that voice and action should not be impassioned for
a great emergency, but the very passion should bear the mark of
control: in the great master's phrase, you must not "tear a passion to
tatters." It is by moderation sitting upon power that works of art
truly masculine and mighty are produced; and by this sign they are
marked off from the lower host of things, gorgeous and redundant, and
still more from the order of "the loose, the lawless, the exaggerated,
the insolent, and the profane."

4. On these considerations Aristotle framed his celebrated definition
of moral virtue: _the habit of fixing the choice in the golden mean in
relation to ourselves, defined by reason, as a prudent man would
define it_. All virtue is a _habit_, as we have seen--a habit of doing
that which is the proper act of the power wherein the habit resides.
One class of moral virtues is resident in the will, the act of which
power is properly called _choice_. The rest of the moral virtues
reside in the sensitive appetite, which also may be said to _choose_
that object on which it fastens. Thus moral virtue is a habit of
_fixing the choice_. The _golden mean_ between two extremes of excess
and defect respectively has been already explained, and may be further
shown by a review of the virtues. Besides fortitude and temperance,
already described, _liberality_ is a mean between prodigality and
stinginess; _magnificence_ between vulgar display and pettiness:
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