Racial Contrasts: Distinguishing Traits of the Graeco-Latins and Teutons
G. P. Putnam's sons, 1908 - 237 pages
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Common terms and phrases
action alterations ancient animals appear artists aspect attention beauty body characteristics classic compared complexity composition connection consideration considered contrast correspond definite demand depends direct directly drama effect elements embody English entirely essential evidence example exhibit existence experiences explanation expression factors facts feeling figures finally followed former French Germanic give Græco-Latin Greek hand harmonic historical human idea illustrations impression involved Italian Italy languages Latin latter light lines living material meaning measures mental mind morality nature notes objects observer organic original painting pass perceive perception period person picture play position preceding present principles produce qualities races realm reason reference regard relations remain represented resemblance respect result romantic scene sense separated significance similar single sound southern span species style successive suggestive temporal Teutonic things thought tion tones true truth variety various whole
Page 34 - For, the sense of being which in calm hours rises, we know not how, in the soul, is not diverse from things, from space, from light, from time, from man, but one with them, and proceeds obviously from the same source whence their life and being also proceed.
Page 27 - Life is a succession of lessons which must be lived to be understood. All is riddle, and the key to a riddle is another riddle.
Page 7 - Every definite image in the mind is steeped and dyed in the free water that flows round it. With it goes the sense of its relations, near and remote, the dying echo of whence it came to us, the dawning sense of whitlier it is to lead. The significance, the value, of the image is all in this halo or penumbra that surrounds and escorts it...
Page 39 - It is the addition of strangeness to beauty, that constitutes the romantic character in art; and the desire of beauty being a fixed element in every artistic organization, it is the addition of curiosity to this desire of beauty, that constitutes the romantic temper.
Page 230 - Thus, for instance, to take the case of the highest animal, man, his development begins from a speck of living matter similar to that from which the development of a plant begins. And, when his animality becomes established, he exhibits the fundamental anatomical qualities which characterise such lowly animals as the jelly-fish. Next he is marked off as a vertebrate, but it cannot be said whether he is to be a fish, a snake, a bird or a beast. Later on it is evident that he is to be a mammal ; but...
Page 217 - Both of these are again divided into sub-kingdoms, the sub-kingdoms into classes, the classes into orders, the orders into families, the families into genera, and the genera into species.
Page 7 - Different instruments give the "same note," but each in a different voice, because each gives more than that note, namely, various upper harmonics of it which differ from one instrument to another. They are not separately heard by the ear; they blend with the fundamental note, and suffuse it, and alter it; and even so do the waxing and waning brain-processes at every moment blend with and suffuse and alter the psychic effect of the processes which are at their culminating point. Let us use the words...
Page 30 - The remember'd print or narrative, the voyage at a venture of men, families, goods, The disembarkation, the founding of a new city, The voyage of those who sought a New England and found it, the outset anywhere, The settlements of the Arkansas, Colorado, Ottawa, Willamette, The slow progress, the scant fare, the axe, rifle, saddle-bags; The beauty of all adventurous and daring persons, The beauty of wood-boys and wood-men with their clear untrimm'd faces, The beauty of independence, departure, actions...
Page 98 - The celerity of action in the south throws light on the frequency of assassination in Latin countries; it enables us to understand the enthusiastic support received by victorious generals and the speedy disgrace awaiting defeated ones ; it explains many episodes in the revolution of 1789, and furnishes the reason for the general instability of governments among the Romance races. Likewise the cause of many enactments which are not necessary among calmer peoples.
Page 39 - Graeco-Latin literature may broadly be characterised as classic, Germanic literature as romantic. What are the distinguishing traits of the classic and romantic; how may both be denned? Heine says: The treatment is classic when the form of that which is portrayed is quite identical with the idea of the portrayer, as is the case with the art-works of the Greeks. . . . The treatment is romantic when the form does not reveal the idea through this identity, but lets this idea be surmised parabolically.1...