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Examples. “If we were to analyze the philosophy which Coleridge employed in his judgment on books, and by which he may be said to have made criticism a precious department of literature,-raising it into a higher and purer region than was ever approached by the contracted and shallow dogmatism of the earlier school of critics, – it would, I think, he proved that he differed from them in nothing more than this, that he cast aside the wilfulness and self-assurance of the mere reasoning faculties; his marvellous powers were wedded to a childlike humility and a womanly confidingness, and thus his spirit found an avenue, closed to feeble and less docile intellects, into the deep places of the souls of mighty poets: his genius as a critic rose to its majestic height, not only by its inborn manly strength, but because, with woman-like faith, it first bowed beneath the law of obedience and love." —Henry Reed.
"Our purity of taste is best tested by its universality, for if we can only admire this thing or that, we may be sure that our cause for liking is of a finite or false nature. But if we can perceive beauty in everything of God's doing, we may agree that we have reached the true perception of its universal laws. Hence false taste may be known by its fastidiousness, by its demands of pomp, splendor, and unusual combination, by its enjoyment only of particular styles and modes of things, and by its pride also, for it is forever meddling, mending, accumulating, and self-exalting; its eye is always upon itself, and it tests all things around it by the way they. fit it. But true taste is forever growing, learning, reading, worshipping, laying its hand upon its mouth because it is astonished, casting its shoes from off its feet because it finds all ground holy, lamenting over itself, and testing itself by the way it fits things.”Ruskin.
“A picture, however admirable the painter's art, and wonderful his power, requires of the spectator a surrender of himself, in due proportion with the miracle which has been wrought. Let the canvas glow as it may, you must look with the eye of faith, or its highest excellence escapes you. There is always the necessity of helping out the painter's art with your own resources of sensibility and imagination. Not that these qualities really add anything to what the master has effected ; but they must be put so entirely under his control, and work along with him to such an extent, that, in a different mood, when you are cold and critical, instead of sympathetic,
you will be apt to fancy that the loftier merits of the picture were of your own dreaming, not of his creating.” — Hawthorne.
“Though we travel the world over to find the beautiful, we must carry it with us, or we find it not. The best of beauty is a finer charm than skill in surfaces, in outlines, in rules of art can ever teach, namely, a radiation from the work of art of human character,— a wonderful expression through stone, or canvas, or musical sound, of the deepest and simplest attributes of our nature, and therefore most intelligible at last to those souls which have these attributes.” — Emerson.
“No man knows the highest goodness who does not feel beauty. The beauty of holiness is its highest object. To act right because it is beautiful, and because noble, true, self-denying, pure acts commend themselves to a soul attuned to harmony, is the highest kind of goodness. To see the King in his beauty is the loftiest and most unearthly attainment. Can any one be keenly alive to this who has no heart for external beauty ? Surely he who is callous to form and color, and unmoved by visible beauty, is not above, but below our nature; he may be good, but not in the highest idea of goodness.” — Robertson.
“There is a natural affinity between goodness and the cultivation of the Beautiful, when it is real cultivation, and not a mere unguided instinct. He who has learned what beauty is, if he be of a virtuous character, will desire to realize it in his own life — will keep before him a type of perfect beauty in human character, to light his attempts at self-culture. There is a true meaning in the saying of Goethe, though liable to be misunderstood and perverted, that the Beautiful is greater than the Good; for it includes the Good, and adds something to it: it is the Good made perfect, and fitted with all the collateral perfections which make it a finished and completed thing. . . . Art, when really cultivated, and not merely practised empirically, maintains, what it first gave the conception of, an ideal Beauty, to be eternally aimed at, though surpassing what can be actually attained; and by this idea it trains us never to be completely satisfied with imperfection in what we ourselves do and are: to idealize, as much as possible, every work we do, and most of all, our own characters and lives." — John Stuart Mill.
The Wave, according to its forms, expresses, sorrow, admiration, surprise, interrogation, mirthful wonder, contempt, scorn, &c.
In semitonic melody it is used in the expression of sor. row, vexation, chagrin, contrition, impatience, pity, love, supplication, fatigue, pain, &c.
In the double form, the wave denates mockery, petulance, contempt, sorrow, &c.
It is emphatically used on long quantities requiring these sentiments.
“But lo! the Earl is mercifully minded!
PHILIP VAN ARTEVELDE. - Taylor.
“A most wise question that!
“I weep for ADONAIS -- he is dead !
0, weep for Adonais! though our tears
Died Adonais ; till the Future dares
Forget the Past, his fate and fame shall be An echo and a light unto eternity!'
“Where wert thou, mighty Mother, when he lay,
With which, like flowers that mock the corse beneath,
ADONAIS. — Shelley.
6 Weep no more, woful shepherds, weep no more;
For Lycidas your sorrow is not dead,
LYCIDAS. - Milton.
ILLUSTRATIONS. — THE WAVE IN HUMOROUS SELECTIONS.
THE REFORM BILL.
Sydney Smith. I have spoken so often on this subject, that I am sure both you and the gentlemen here present will be obliged to me for saying but little, and that favor I am as willing to confer as you can be to receive it. I feel most deeply the event which has taken place, because, by putting the two houses of parliament in collision with each other, it will impede the public business and diminish the public prosperity. I feel it as a churchman, because I cannot but blush to see so many dignitaries of the church arrayed against the wishes and happiness of the people. I feel it more than all, because I believe it will sow the seeds of deadly hatred between the aristocracy and the great mass of the people.
The loss of the bill I do not feel, and for the best of all possible reasons — because I have not the slightest idea that it is lost. I have no more doubt before the expiration of the winter, that this bill will pass, than I have that the annual tax bills will pass, and greater certainty than this no man can have, for Franklin tells us there are but two things certain in this world - death and taxes.
As for the possibility of the house of lords preventing; ere long, a reform of parliament, I hold it to be the most absurd notion that ever entered into human imagination. I do not mean to be disrespectful, but the attempt of the lords to stop the progress of reform, reminds me very forcibly of the great storm of Sidmouth, and of the conduct of the excellent Mrs. Partington on that occasion.
In the winter of 1824, there set in a great food upon that town the tide rose to an incredible height — the waves rushed in upon the houses, and everything was threatened with destruction. In the midst of this sublime and terrible storm, Dame Partington who lived upon the beach, was seen at the door of her house, with mop and feathers, trundling her mop, squeezing out the sea water, and vigorously pushing away the Atlantic Ocean. The Atlantic was roused. Mrs. Partington's spirit was up; but I need not tell you that the contest was unequal. The Atlantic Ocean beat Mrs. Partington. She was excellent at a slop, or a puddle, but she should not have meddled with a tempest. Gentlemen, be at your ease — be quiet and steady. You will beat Mrs. Partington.