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Updated: June 29, 2025
It doesn't matter to us in the least that Morgan and Richard Strauss helped fill a folio alongside of Maeterlinck and such like persons. All this was, of course, in keeping with the theatricism of the period in which it was produced, which is one of the best things to be said of it. But we do know that Whistler helped ruin photography along with Wilde who helped ruin esthetics.
Production is the natural extension of "self-feeling," and the accompanying pleasure is the pleasure of conquest. Thus, on condition that we extend "imagination" to its full sense, without limiting it unduly to esthetics, there is, among the many forms of the emotional life, not one that may not stimulate invention.
Is there not a luxury of ethics, not less justifiable than any other sort of luxury? But, on the other hand, is not all this substantially esthetics, and not ethics, still less religion? May not the contemplative, medieval, monastic ideal be esthetical, and not religious nor even ethical?
And every man passes through this grade, because before all else he must wish to be himself, as an individual, and without this grade morality would be inexplicable, just as without esthetics logic would lack meaning.
We want to study the right of the photoplay, hitherto ignored by esthetics, to be classed as an art in itself under entirely new mental life conditions. What we need for this study is evidently, first, an insight into the means by which the moving pictures impress us and appeal to us. Not the physical means and technical devices are in question, but the mental means.
Some day or other, when all the jargon so feelingly denounced by Colonel Morley about "esthetics," and "objective," and "subjective," has gone to its long home, some critic who can write English will probably bring that poor little volume fairly before the public; and, with all its manifold faults, it will take a place in the affections, not of one single generation of the young, but everlasting, ever-dreaming, ever-growing youth.
Finding himself with a man who "understood Latin" he prudently took refuge in the chatter of esthetics. He announced the advent of a new art which trampled under foot the conventions of the past. He spoke of a new musical language which had been discovered by the Christopher Columbus of Parisian music, and he said it made an end of the language of the classics: that was a dead language.
It is so much outside the realm of scientific esthetics as hardly to have been more than overheard. These pictures are efficiently exemplary of the axiom that "all art aspires to the condition of music." I could almost hear Davies saying that, as if Pater had never so much as thought of it. They literally soothe with a rare poetry painted for the eye.
Let us note the exact, rapid intuition at the commencement of the opportune moments. Lastly, the creative element, the conception, a natural gift bearing the hall-mark of each inventor. Thus "the Napoleonic esthetics was always derived from a single concept, based on a principle that may be summed up thus: Strict economy wherever it can be done; expenditure without limit on the decisive point.
We need to admit, and speedily, the rare and excellent esthetics in our midst, a part of our own intimate scene. The redman is a spiritual expresser of very vital issues. If his pottery and his blankets offer the majority but little, his ceremonials do contribute to the comparative few who can perceive a spectacle we shall not see the equal of in history again.
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