Nach Thomas sind pulchrum und bonum in subiectio identisch, in ratione aber verschieden. Namlich hat bonum eine causa finalis, pulchrum aber eine causa formalis. Damit betrachte ich in den drei Paragraphen uber die Identitat und Verschiedenheit zwischen pulchrum und bonum. 1. Erstens ist pulchrum wirklich identisch mit bonum, da beide ein und dasselbe zur Grundlage haben, namlich die Form. Pulchrum ist daher auch ein Transzendentalbegriff ebenso wie bonum. 2. Aber das bedeutet nicht, dass es die begriffliche Differenze des beiden nicht gibt, die zwischen allen Transzendentalien zu finden ist. Namlich fugt pulchrum primar und formell dem ens die Natur des verum bei, und auch sekundar und materiell dem ens die des bonum. Daher muss pulchrum zuerst unmittelbar erkannt werden und dann erweckt es Geffallen, soweit es erkannt ist. 3. Die delectatio am pulchrum ist die des Intellekts und die des Willens wahrend die am bonum nur die des Willens. Demzufolge ist pulchrum das reichere und edlere Seelische als bonum.

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The TROADES, a tragedy of Euripides', is not yet held in a certain estimation. Those who blame it point out that it is devoid of the dramatic unity. But, I think, they neglect the existence and significance of the prologue in the play. The prologue, which consists of the dialogue between Poseidon and Athena, presents the viewpoint to realize the meaning of the following scenes. Judging from my own experience, if we can put the dei ex machina effectively on the stage the play will keep the highest tension of the supreme dramatic unity. From Aeschylos onwards, the tragic spirit has always dealt with the ethical problem of the place of evil and suffering in the world. It is interesting that Euripides seems to deal with this problem, different from Aeschylos and Sophocles, not in the figure of some tragic persons but within the wider scope. And the Prologos in this tragedy may be considered as the typical instance of his treatment.

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Chang Chih-ho (741-c.775) was born and formed in the artistic environments of San-Wu (三呉) district in Southeastern China. 1. His contemporaries were Lu Yu (陸羽) the author of "Ch'aching (茶経)", Zen monk Chiaojan (皎然) the author of "Shihshih (詩式)" (critical essays of poems), and Chang Hsu (張旭), the famous calligrapher of ts'ao (草). They showed a new and unworldly tendency of the artistic spirit in their own fields. 2. Historically speaking of the painting, since Sui (隋) dynasty, while on the one hand the wall painting, which was relatively difficult in technique, had decayed in San-Wu district, on the other hand materials for paper and silk painting were abundantly there. In this way, i-p'in (逸品) painting, which esteemed the expression of artist's spirit more technique, appeared in the 8th century in San-Wu district. And thus, Chang Chih-ho made himself an unique artist of i-p'in painting under the above two conditions and by his Taoist thoughts.

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