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Updated: June 15, 2025
Taine's insistent inquiry about the, to him, unknown musician; Conrad Lagrange, because of the manner of the girl in the garden when James Rutlidge appeared and because of the critic's interest when they had spoken of the violinist in the studio. But neither expressed his thought to the other.
Taine's picture, provoked characteristic comment. Louise effervesced a frothy stream of bubbling exclamations. James Rutlidge gave a hearty, "By Jove, old man, you have nerve! If you can really improve on that canvas, you are a wonder." And Mr. Taine, under the watchful eye of his beautiful wife, responded with a husky whisper, "Quite right my boy quite right!
Of these two evils the former appeared to him the less, while the latter he could only think of in terms of folly and outrage. Taine's conservatism was the reaction of opinion against the violence of the Commune and the weak beginnings of the Third Republic, as Michelet's liberalism had been its reaction against Orleanist and Bonapartist middle class and military dictation.
Poor, obscure, and unhappy, he overcame the world, and passed from darkness into light. The "poetic temperament" in another not gifted with his endurance and persistent strength would have achieved ruin. Most of us remember Taine's parallel between Tennyson and Alfred de Musset.
And this brings us to the cardinal reason for demurring to M. Taine's neatly rounded proposition. His appreciation of the speculative precursors of the Revolution seems to us to miss the decisive truth about them.
Taine's portrait. Wrath gave way to pity; indignation to contempt. In confidence, he smiled to think how little the girl he loved needed his poor defense against the animalism that dominated the company she was hired to amuse.
We think the foregoing explanation correct enough, so far as it goes, though it deals with the merest rudiments of the subject, and really does nothing toward elucidating the deeper mysteries of artistic production. For this there is needed a profounder psychology than M. Taine's.
Behind it could be plainly perceived a huge scaffolding of erudite labour, and the working of an intellect of abnormal power; but what was not so apparent, and is now only being slowly recognised, was that much of this erudition was hasty and inspired by preconceived opinions, and that Taine's genius was more philosophic than historic.
He fidgeted when he looked at the clock; he thought of the grill down-stairs where he lunched and the heavy male conversation thereof, and opposed to that picture appeared another; a little table at Taine's with the brown eyes and the mouth a few feet away. A few minutes before twelve-thirty he dashed on his hat and rushed for the cable-car. She was quite surprised to see him.
Writing, as the good German professor did, in the triumphant hour of Taine's theory as to the significance of place, period, and environment in determining the character of any literary production, what could be more logical than to begin at the beginning?
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