Oswald Spengler. The Decline of the West. An abridged edition by Helmut Werner.

English abridged edition prepared by Arthur Helps from the translation by Charles Francis Atkinson. New York: oxford University Press c199 [1926, 1928, 1932]. xxxx,415, xvix

IMITATION AND ORNAMENT [102]
All art is expression-language. This expression is either ornament or imitation. Both are higher possibilities... I. Imitation A.Earlier and more characteristic of race B.Born of the secret rhythm of all this cosmic C.Every live religion is an effort of the waking soul to reach the powers of the worldaround. And so too is Imitation which in its most devoted moments is wholly religious 1.Consists in an identity of inner activity between the soul and body "here" and the world around "there" which, ... become one. D.Let ourselves go in common song or parade-march or dance 1.creates out of many units one unit of feeling and expression, a "we" E.All imitation is in the broadest sense dramatic; 1.drama in movements of brush stroke or chisel 2.melodic curse of song 3.tone of recitation 4.line of poetry 5.the description 6.the dance F.Only the living can be imitated 1.can be imitated only in movements 2.belongs to time and direction G.Expresses something by accomplishing itself H.Possess beginning and end II.Ornament - does not follow the stream of life but rigidly faces it A.Established motives, symbols, impressed upon it B.Intention not to pretend but to conjure C.The "I" overwhelms the "Thou." D.Imitation is speaking with means that are born of the moment andunreproducible E.employs a languages emancipated from speaking 1.stock of forms that possess duration and is not at the merc of the individual F.Removed from Time 1.pure extension, settled and stable G.Expresses by presenting itself to the senses as a finished thing 1.Being as such, wholly independent of origin. H.Possesses only duration

Sections from Spengler, The Decline of the West: Introduction: Civilization Introduction: Imperialism Architecture and Divinities Imitation and Ornament The History of Style as an Organism Arts as Symbol of the Higher Order Popular and Esoteric Will to Power Impressionism Morale of Dawning Civilizations The History of Style as an Organism Pergamum and Bayreuth: the End of Art Classical Behaviour Drama and Faustian Character Drama Every Culture Possesses its own Ethic Every Science is Dependent upon Religion Atheism Origin and Landscape: the Group of the Higher Cultures Cities Reformation Science Second Religiousness The State Politics Conclusion