Racial Contrasts: Distinguishing Traits of the Graeco-Latins and TeutonsG. P. Putnam's sons, 1908 - 237 pages |
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absolute music accordingly action æsthetic alterations ancient ancient Greece animals appear architecture arouse artists aspect beauty and morality characteristics Clarinets classic colour complexity composition connection consideration contrapuntal contrary contrast correspond counterpoint depends divergence drama effect elements embody embryology ences endeavour English evolution example exhibit existence experiences expression factors facts figures formula French fringe Germanic Gothic Græco Græco-Latin Greek Greek temple harmonic homology illustrations impression Indo-European languages instrumental involved languages Latin literature measures melody ment mental mezzo forte mind modern Mozart nations nature northern objects organic overtones painting parallelograms of forces pedal point perceive perception phenomena picture pitch preceding present produce races realise realm reference relations resemblance result romantic romanticism scene second principle significance similar single sound southern span species style suggestive temporal tendency Teutonic thematic things thought timbre tion tones transformation truth various vertebrates vibrations violin words
Popular passages
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 whither 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 - We speak of romantic characters, romantic situations, romantic scenery. What do we mean by this expression? Something very subtle, undefinable, but felt by all. If we analyse the feeling we shall find, I think, that it has its origin in wonder and mystery. It is the sense of something hidden, of imperfect revelation.
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 232 - Man, for example, 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 not till still later can it be said to which order of mammals...
Page 219 - 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 90 - ... always by its general effect that they judge of a theatrical piece, and they wait till it is finished before they either condemn or applaud it. The impressions of the French are more ready ; and they would in vain be forewarned that a comic scene is designed to set off a tragic situation, — they would turn the first into ridicule without waiting for the other; every detail must for them be of equal interest with the whole : they will not allow credit for an instant to the pleasure which they...
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 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...