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We killed many, butt there weare devils who took my son up in ye air so I could never again get him back. Our warre song grew still on our lipps, as ye snow falling in ye forest. I have nott any more warred to the North, until I was told by ye spirits to go to ye ffrench & recover my son. My friend, I have dreamed you weare my son;" and henceforth I was not hurted nor starved for food.
She tost it hoff to the elth of the company, giving a smack with her lipps after she'd emtied the glas, which very nearly caused me to phaint with hagny.
In the dramatic type of unity there are two chief dangers that the evolution be tortuous, so that we lose our way in its bypaths and mazes; or, on the other hand, that the end be reached too simply and quickly; in the one case, we lose heart for the journey because of the obstacles; in the other, we lose interest and are bored for want of incidents. Lipps: Aesthetik, Bd.
The question of the unconscious, in psychology is, according to the authoritative words of Lipps, less a psychological question than the question of psychology.
There may be two or more parallel lines of action in a play or a novel, two or more themes in music, but they must be interwoven and interdependent. Otherwise there occurs the phenomenon aptly called by Lipps "aesthetic rivalry" each part claims to be the whole and to exclude its neighbor; yet being unable to do this, suffers injury through divided attention.
Most pretious Alamode, Monsir Device! De. I blesse my lipps with your white handes. Lady. You come to take your leave as knowing by instinct wee have but halfe an hour to stay. Sis. Wee are for the Countrey as fast as your Flanders mares will trott, sir. De. That's a Solecisme till the Court remove; are you afraid of the small pox? Sis. The less the better for a gentlewoman. De.
We seem to observe the working of this outward force, as Lipps has remarked, in the spreading out of the trunks of trees at the base and in the feet of animals; and we feel it in ourselves whenever we spread our limbs apart to brace ourselves to withstand a load. Whenever the outward force is resisted, it gives evidence of the existence of a force operating in the opposed direction inward.
Lipps: Der Streit ber die Tragodie, and Aesthetik, Bd. It is a familiar and generally recognized experience, as Lipps has observed, that any threat or harm done to a value evokes in us a heightened appreciation of its worth.
Thus every one would probably agree with Lipps and call a pure yellow happy, a deep blue quiet and earnest, red passionate, violet wistful; would perhaps feel that orange partakes at once of the happiness of yellow and the passion of red, while green partakes of the happiness of yellow and the quiet of blue; and in general that the brighter and warmer tones are joyful and exciting, the darker and colder, more inward and restful.
Lipps defines the aesthetic experience as a "thrill of sympathetic feeling," Groos as "sympathetic imitation," evidently assuming that pleasure accompanies this. But there are many feelings of sympathy, and joyful ones, which do not belong to the aesthetic realm.
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