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abstract aesthetic theory allegory analysis ancient antiquity antithesis appears architecture Aristotle Aristotle's artistic beauty century character characteristic Christian classical colour comedy conception concrete consciousness contrast Corneille criticism definite Descartes distinction doctrine drama Dramaturgie dualism element Encycl Epicureans essential existence expression fact feeling formal formative art genius Goethe Greek Greek art harmony Hegel Hellenic human idea ideal imagination imitation import individual intellectual interest judgment of taste Kant Kant's Kantian Laocoon latter Lessing Lessing's Leben material meaning metaphysical mind moral nature Neo-Platonism object objective idealism painting passage perception phases Pheidias philosophy Plato pleasure Plotinus Plutarch poet poetic poetry principle pure purpose reality reason recognised reference relation Renaissance represented romantic Schasler Schelling Schiller sculpture semblance sense sensuous sentiment shape significance simple spirit style sublime suggested symbolic symbolic art tendency things thought tion tragedy true ugly unity whole Winckelmann writers
Page 160 - Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature: for anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.
Page 278 - Go, Sun, while Mercy holds me up On Nature's awful waste To drink this last and bitter cup Of grief that man shall taste — Go, tell the night that hides thy face, Thou saw'st the last of Adam's race, On Earth's sepulchral clod, The darkening universe defy To quench his Immortality, Or shake his trust in God ! A DREAM.
Page 452 - You can teach a man to draw a straight line, and to cut one; to strike a curved line, and to carve it; and to copy and carve any number of given lines or forms, with admirable speed and perfect precision; and you find his work perfect of its kind: but if you ask him to think about any of those forms, to consider if he cannot find any better in his own head, he stops; his execution becomes hesitating; he thinks, and ten to one he thinks wrong; ten to one he makes a mistake in the first touch he gives...
Page 357 - Thou hidest thy face, they are troubled : thou takest away- their breath, they die, and return to their dust. Thou sendest forth thy spirit, they are created : and thou renewest the face of the earth.
Page 155 - Plautus hath in one place done amiss, let us hit with him, and not miss with him. But they will say, how then shall we set forth a story, which containeth both many places, and many times?
Page 453 - On the other hand, if you will make a man of the working creature, you cannot make a tool. Let him but begin to imagine, to think, to try to do anything worth doing ; and the engine-turned precision is lost at once. Out come all his roughness, all his dulness, all his incapability; shame upon shame, failure upon failure, pause after pause : but out comes the whole majesty of him also ; and we know the height of it only when we see the clouds settling upon him.
Page 504 - Political Philosophy, Theology. While much had been done in England in tracing the course of evolution in nature, history, economics, morals and religion, little had been done in tracing the development of thought on these subjects. Yet the "evolution of opinion is part of the whole evolution".
Page 467 - Men have oftener suffered from the mockery of a place too smiling for their reason than from the oppression of surroundings oversadly tinged. Haggard Egdon appealed to a subtler and scarcer instinct, to a more recently learnt emotion, than that which responds to the sort of beauty called charming and fair.