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Page 180 - All that is confused and indistinct, without form, or sex, or accent, is antagonistic to beauty; for the mind's first need is light; light means order, and order means, in the first place, the distinction of the parts, in the second, their regular action. Beauty is based on reason.
Page 115 - ... we call our aesthetic field. The artist must employ all means which lead to the attainment of immediate pleasures so far as these are compatible with the production of pleasures in revival. He may add much in the way of mere presentative pleasure which may or may not bring us pleasurable effect in revival, and all such added pleasure in presentation is a gain to the work as art, provided it neither brings pain in revival nor swamps with resulting indifference the revivals which are pleasurable....
Page 203 - No previous writer has given a general formula which covers anything like the same amount of ground. Acquaintance with Mr. Marshall's work will be indispensable to every future student of the subject. His own learning is admirably complete; we cannot name any modern author of consequence, of whose writings he has not taken account. The modesty of his tone is also remarkable, considering that his mental temperament is ' radical,' and that he is fighting for a creation of his own.
Page 185 - ... rooms in which we wish to live, or in buildings which we are compelled to view constantly. On the whole it appears that the safest means of producing lasting aesthetic results will be reached if we choose that succession of contents, each of which is naturally led up to by those which have preceded. [In physiological language : we will gain our result best if we choose such successive impressions as will stimulate organs that have been best and fully prepared for action by the associative nutrition...
Page 112 - IN the chapters which have preceded this we have seen that aesthetics may with propriety be considered as a branch of hedonics ; as being dependent directly upon pleasure laws and indirectly therefore upon the laws of pain.
Page 16 - ... by the objection that while all -(Esthetic states of mind appear to be pleasurable not all pleasurable states are allowed to pass as aesthetic. The problem which is thus brought forward is an important one which we must consider somewhat at length. It may be stated in the form of the question : What are the bounds of the aesthetic within the hedonic field...
Page 203 - ... should be." The Independent. " It may well be said that Mr. Marshall's essay is the most successful of all yet published attempts to conceive our pleasures and displeasures under something like a single point of view. . . . No previous writer has given a general formula which covers anything like the same amount of ground.
Page 69 - This art impulse is blindly instinctive in its simplicity, with no end in view at all beyond the completion of its work. In proportion as ulterior determinate ends become more fixed the fire of genius is dimmed, although the nobility of the man's work may perchance be heightened by the intrinsic nobility of his aim, beyond the line of mere aesthetics.
Page 18 - ... by the degradation into indifference or positive painfulness of the special elements which were giving us pleasure. The suggestion of a painful association with some essential element in an art complex will for all time reduce for us the aesthetic value of the whole form. One special mountain of great natural charm has lost for me all of its impressiveness, because a light-hearted companion once compared its autumn colouring with that of "corned-beef hash.
Page 130 - Illustrations here crowd upon us. All of nature's lines are affected by the power of gravitation. It seems clear to me that the relative grace of the suspension bridge and of the cantilever truss is principally determined by the fact that the catenary curve in the one case presents to us nature's pendent form, while the strutted extensions of the cantilever bring to us other lines than those in accord with which she has educated us.