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'When one compares what Bismarck does with that for which poor Arnim had to suffer! He would do nothing, he said, against Bismarck, but the consequences of the whole thing were very serious. Waldersee and Bismarck couldn't abide one another. They had, however, become allies out of common hatred of Caprivi, whose fall Bismarck desired. What might happen afterwards neither cared."
Our subject the intellectual and moral feelings of brutes, and the mechanism on which they depend may be divided into two parts, the portion that receives and conveys, and that which stores up and compares and uses the impression. The portion that receives and conveys is far more developed in the brute than in the human being.
In fact, there is an element of truth in both estimates, however exaggerated. In the matter of personal morality, in the restricted sense, it does not appear in spite of his list of wives that he compares unfavourably with contemporary princes.
It is a street out of Cavendish Square, in a fashionable quarter, although fashion is said to be ebbing away from it. The ambassador seems to intend some little state in his arrangements; but, no doubt, the establishment compares shabbily enough with those of the legations of other great countries, and with the houses of the English aristocracy.
The metronomic markings are about the same in all editions. Asiatic wildness, according to Von Bulow, pervades the B minor study, op. 25, No. 10, although Willeby claims it to be only a study in octaves "for the left hand"! Von Bulow furthermore compares it, because of its monophonic character, to the Chorus of Dervishes in Beethoven's "Ruins of Athens."
The only tenderness that is revealed in the writings of Schopenhauer refers to his father. He affirms the sterling honesty of the man, and lauds the merchant who boldly states that he is in business to make money, and compares him with the philosophers who clutch for power and fame and yet pretend they are working for humanity.
The second movement of the quartet Op. 127, Adagio ma non troppo, with which Porges compares the scene, gives a different side, from which the morbid element is absent. The rhythm which dominates this scene is a development of the preceding triplet rhythm and must be taken quite strictly 3-4 time, the first two crotchets being divided into triplet quavers, the last into two.
No victory, No joy of triumph doth the faint heart know; Unblest is he That a bold front to Fortune dares not show, But soul and sense In bondage yieldeth up to indolence. If Love his wares Do dearly sell, his right must be contest; What gold compares With that whereon his stamp he hath imprest? And all men know What costeth little that we rate but low.
No victory, No joy of triumph doth the faint heart know; Unblest is he That a bold front to Fortune dares not show, But soul and sense In bondage yieldeth up to indolence. If Love his wares Do dearly sell, his right must be contest; What gold compares With that whereon his stamp he hath imprest? And all men know What costeth little that we rate but low.
The forehead is formless and boneless, the nose is entirely wanting in that play of line and surface which an old man's nose affords; no one ever yet drew or painted a nose absolutely as nature has made it, but he who compares carefully drawn noses, as that in Rembrandt's younger portrait of himself, in his old woman, in the three Van Eycks, in the Andrea Solario, in the Loredano Loredani by Bellini, all in our gallery, with the nose of Raffaelle's S. Nicholas will not be long in finding out how slovenly Raffaelle's treatment in reality is.
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