Aristotle believed that natural things and artifacts exist due to four reasons: namely, ① material cause-the material elements that things are composed of; ② formal cause-the Realize the shape; ③The creative cause - the driving force for the formation of things; ④The final cause - the effect to be achieved after the thing is formed. Creative cause and final cause belong to formal cause. Therefore, all things are mainly composed of formal cause and material cause. Potential - matter (the existence of potential) The existence of things: Realization - form (realization of potential) The formation process of things: material (potential) - form (realization) Natural things move from potential to realization, formal cause (containing efficient cause) ) is the deciding factor. (This motivation also comes from a "lack" of things themselves). The "form" of things is the essence of things. A seed has its own internal reason and motivation to grow into a seedling. The sculptor's conception first precedes the marble's transformation into a concrete statue. Material cause and formal cause are also in the process of change. Every thing has a formal cause as purpose and motivation. It can be seen that specific entities also have levels from bottom to top. The higher one goes up the substance, the less material or potential there is, and the more pure the form. Going back to the highest entity, to the highest cause, is the eternal "first mover". It moves others but does not move itself. It is a purely formal entity without potential or matter. It is a kind of life and soul, similar to what Anaxagoras (about 500-428 BC) called " Mind” (Nous). Aristotle also called it "god". The highest cause (God) is the final result and the highest goal pursued by the movement of all things. It is also the ultimate driving force and fundamental law for the generation and development of all things. At the same time, it itself is perfect and the supreme good. Because goodness itself is perfection, the internal cause of goodness in things is essentially the cause of beauty. Therefore, natural things have the tendency of beauty and goodness, and their growth process is the process of the manifestation of beauty and goodness. Therefore, after all, beauty is a good, and it causes pleasure precisely because it is good. Beauty does not equal goodness. "Goodness is always based on actions, but beauty can also be seen in inactive things." Ugly and evil things are just the result of obstruction and distortion of the natural development of things. Natural things have the same nature of beauty: from the inanimate inorganic world to the plant world of exotic flowers and trees; from the animal world of rare birds and beasts to intelligent and rational humans; from the bright sun, moon and stars to the vast and boundless universe. , the entire nature appears extremely harmonious and complete, like a work of art carefully designed by a universal designer. Its existence is proof of the law of beauty. The ultimate driving force and basis for the occurrence and development of things is goodness, and beauty is the external form. This concept is close to Christian thought. The main forms of beauty are "order, symmetry and clarity": He said: "A beautiful thing - a living thing or a thing composed of certain parts - not only should its parts have a certain arrangement, but also its volume. It should also have a certain size; because beauty depends on volume and arrangement, a very small thing cannot be beautiful; because our observation is in an imperceptible time, so that it is blurred; a very large living thing, such as a thousand The living things inside cannot be beautiful, because they cannot be seen at a glance and their wholeness cannot be seen. "Beauty is "wholeness." "Order, symmetry and clarity" are "integrity". "Unity" is neither single nor complex, but like music, the five temperaments harmonize and the eight notes harmonize, maintaining unity amidst rich and complex diversity. "Unity" is the hallmark of a work of art: "The difference between beauty and unbeautifulness, between works of art and real things, lies in the fact that beautiful things and the original scattered elements in works of art are combined into a unity." And "Tragedy is also a serious expression of a serious person. , complete, imitation of actions of a certain length...The plot of an epic should also be arranged according to the principles of drama like the plot of a tragedy, surrounding a complete action, with a head, a body and a tail, so that it can resemble A complete living thing gives us a special kind of pleasure... The so-called "completeness" refers to the fact that something has a head, a body, and an end. The so-called "head" refers to the fact that something does not necessarily follow other things. But it is something that naturally causes something to happen; the so-called "tail", on the contrary, refers to something that naturally follows something in accordance with inevitable laws or routines, but there is nothing else to follow it; the so-called "body" refers to something that is At the same time, he also pointed out that the internal basis of the "integrity" of narrative works such as tragedies and epics is still the "law of possibility and necessity". "Integration" is a unified movement in individuals. The inherent organic nature makes the individual have rich and consistent properties and characteristics. From the perspective of the highest cause of things, the source of this "integrity" comes from the highest good. Therefore, "integrity" already exists. The perceptual formal characteristics also have spiritual and rational roots. This kind of beauty is related to the external form and is also connected with the spirit and ideas.