Aristotle put the pleasure of art in perception. Art for him is a _mimesis_, which does not mean an imitation, in the sense of mirroring or copying. That was Plato’s notion, which Aristotle combated. Art is, in Aristotle, a power analogous to nature, working like nature in another and limited world, of sound, of color, of human thoughts. Art is fiction, a dramatizing, a staging of life, to be judged, not by correspondence with fact, but by its own plausible and convincing rationalization. No one has done more for art than Aristotle in his insistence upon the necessity of cause and effect, of a motivation, sufficient at least for the artist’s public. Intrinsic unity, the fruit of perfect motivation, was another necessary requisite in Aristotle’s analysis of art. It is only when the varied elements of the artist’s imaginative experience have fused themselves into a unity by having a well-motivated beginning, middle and end that the mind feels the beauty of its vision. Universality in art is another fruitful idea of Aristotle. While confined to his sensible medium, the artist must link up the separate elements of his vision more closely than in the realm of fact. He will by that very reason be general and universal because his motivation must approve itself to all. A moving picture of the death of Cæsar as it really occurred would be valuable history. It would, however, be individual. Shakespeare’s death of Cæsar has a beginning, middle and end, and the spectators see in it the working out of a plot in which every word and act has been carefully planned and fitted into the design. The individuating notes are left out, and the death of a Cæsar has universal appeal. Artistic creation, motivation, unity, universality, these are great principles of art formulated by Aristotle and not likely ever to be superseded. The cognitive idea of beauty and those principles of Aristotle have been followed in the chapters of this book. For further discussion of the nature of esthetic pleasure, see author’s “Art of Interesting,” Chap. V, Interest from Emotions; Chap. XVII, Is Esthetic Emotion a Spinal Thrill? A FORWARD-LOOKING LESSON IN LITERATURE (_To exemplify Chapter IX_) THE METHOD THE dry bones in the cold print of this lesson are to be galvanized into life by a teacher in constant touch with the class and enlisting the coöperation by questions, by having the passage read aloud, by writing on the board, by interchanges of ideas, by lively disputes between individuals. No mere lecture with passive listeners, no mere study period with a passive overseer, but real teaching, which is a fine conversation, directed upon select subjects and carried to a destined end under expert guidance.