On Beauty: Three Discourses Delivered in the University of Edinburgh

Cover
Sutherland and Knox, 1858 - 270 Seiten
 

Was andere dazu sagen - Rezension schreiben

Es wurden keine Rezensionen gefunden.

Andere Ausgaben - Alle anzeigen

Häufige Begriffe und Wortgruppen

Beliebte Passagen

Seite 101 - How beautiful is night! A dewy freshness fills the silent air; No mist obscures, nor cloud, nor speck, nor stain, Breaks the serene of heaven : In full-orbed glory yonder moon divine Rolls through the dark blue depths; Beneath her steady ray The desert circle spreads, Like the round ocean, girdled with the sky. How beautiful is night!
Seite 79 - I do not say that the art is greatest which imitates best, because perhaps there is some art whose end is to create, and not to imitate. But I say that the art is greatest, which conveys to the mind of the spectator, by any means whatsoever, the greatest number of the greatest ideas...
Seite 27 - Why we receive pleasure from some forms and colours, and not from others, is no more to be asked or answered than why we like sugar and dislike wormwood.
Seite 263 - There are two Causes of Beauty, natural and customary. Natural is from Geometry, consisting in Uniformity (that is Equality) and Proportion. Customary Beauty is begotten by the Use of our Senses to those Objects which are usually pleasing to us for other Causes, as Familiarity or particular Inclination breeds a Love to Things not in themselves lovely. Here lies the great Occasion of Errors; here is tried the Architect's Judgment: but always the true Test is natural or geometrical Beauty.
Seite 151 - Form, in its widest meaning, the visible universe that envelopes our senses, and its counterpart, the invisible one, that agitates our mind with visions bred on sense by fancy, are the element and realm of invention : it discovers, selects, combines the possible, the probable, the known, in a mode that strikes •with an air of truth and novelty.
Seite 163 - The most obvious, and the strongest association that can be established between inward feelings and external objects is, where the object is necessarily and universally connected with the feeling by the law of nature, so that it is always presented to the senses when the feeling is impressed upon the mind — as the sight or the sound of laughter, with the feeling of gaiety — of weeping, with distress — of the sound of thunder, with ideas of danger and power.
Seite 88 - I should attempt to investigate the principles on which colours, Forms, or motion, give pleasure to the eye. With the greater 'part of Mr. Alison's remarks on these qualities, I perfectly agree; although, in the case of the first, I am disposed to ascribe more to the mere organic impression, independently of any association or expression whatever, than he seems willing to allow.
Seite 106 - Never is piety more unwise than when she casts beauty out of the church, and by this excommunication forces her fairest sister to become profane. It is the duty of religion not to eject, but to cherish and seek fellowship with every beautiful exhibition which delights, and every delicate art which embellishes human life. So, on the other hand, it is the duty of art not to waste its high capabilities in the imitation of what is trivial, and in the curious adornment of what has only a finite significance....

Bibliografische Informationen