“Happy is the fate of the critic, since he has to deal with such a work of art, creativity, which is not only completely? corresponds to ready-made, already established aesthetic requirements, but develops and extends these very requirements, breaks and expands t? ready-made frameworks by which we are accustomed to judge and evaluate the elegant. The critic, in this case, no longer only teaches, as often happens, long-known lessons in free creativity, but he himself is a quality? its participant, is inspired by it and learns from it, and all that remains for him is to transform the impulses of free genius into a strict thought about the forms of beauty, its essence and meaning. If aesthetics, as the science of beauty, needs philosophical and dogmatic expression and construction, then there is no doubt that it is created primarily not by thinkers-theorists and practical artists, whose free creativity it, at times, can open up new paths, set new tasks, but for which no science can ever issue binding laws - to remove the range of possible tasks for it...” The work is given in the pre-reform alphabet.