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Abraham Tucker according action aesthetic Aesthetik appearances of nature applied architecture Aristotle art-impulse artist association attribute beauty cause Chapter character classic colors conception connection consciousness considered definite degree developed distinctive dramatic E. S. Dallas effects of nature elements emotions emphasizes ence essay exerted exist expression expressional fact forms of nature G. W. F. Hegel Greek harmony Henry Fuseli human human voice ideal ideas imagination imitation indicated influence instinctive J. H. Bernard James Sully John Ruskin language latter manifested material means melody mental merely method mind Moritz Carriere necessitate notice objects oratory painting and sculpture pantomime phase philosophic physical picture Plato poet poetic poetry possible present principle produced reason recognized reference representation Representative Art reproduced result rhythm sculpture sense sight Sir William Hamilton sounds spiritual suggested tendency term theory things thought and feeling thought or feeling tion true truth words writers
Seite 152 - Thy soft response renewing— What makes that ship drive on so fast? What is the ocean doing?' Second Voice 'Still as a slave before his lord, The ocean hath no blast; His great bright eye most silently Up to the Moon is cast— If he may know which way to go; For she guides him smooth or grim. See, brother, see! how graciously She looketh down on him.
Seite 53 - Canst thou not minister to a mind diseased, Pluck from the memory a rooted sorrow, Raze out the written troubles of the brain, And with some sweet oblivious antidote Cleanse the stuff d bosom of that perilous stuff Which weighs upon the heart ? Doct.
Seite 53 - Nor the dejected haviour of the visage, Together with all forms, modes, shows of grief, That can denote me truly; These, indeed, seem, For they are actions that a man might play; But I have that within which passeth show; These, but the trappings and the suits of woe.
Seite 92 - THE day is cold, and dark, and dreary ; It rains, and the wind is never weary ; The vine still clings to the mouldering wall, But at every gust the dead leaves fall, And the day is dark and dreary. My life is cold, and dark, and dreary ; It rains, and the wind is never weary ; My thoughts still cling to the mouldering Past, But the hopes of youth fall thick in the blast And the days are dark and dreary.
Seite 154 - The sound must seem an echo to the sense. Soft is the strain when Zephyr gently blows, And the smooth stream in smoother numbers flows; But when loud surges lash the sounding shore, The hoarse, rough verse should like the torrent roar. When Ajax strives some rock's vast weight to throw, The line too labours, and the words move slow; Not so, when swift Camilla scours the plain, Flies o'er th' unbending corn, and skims along the main.
Seite 208 - Since nought so stockish, hard, and full of rage, But music for the time doth change his nature : The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems, and spoils ; The motions of his spirit are dull as night, And his affections dark as Erebus : Let no such man be trusted.
Seite 71 - Play is equally an artificial exercise of powers which, in default of their natural exercise, become so ready to discharge that they relieve themselves by simulated actions in place of real actions. For dogs and other predatory creatures show us unmistakably that their play consists of mimic chase and mimic fighting — they pursue one another, they try to overthrow one another, they bite one another as much as they dare.
Seite 254 - ... the best of us, you know, delight in giving way to sympathy, and are in raptures at the excellence of the poet who stirs our feelings most.
Seite 112 - Art should be independent of all clap-trap — should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works "arrangements