|1.||"Physical beauty arises from the harmonious effect of manifold parts
that can be taken in at one view. It demands also that these parts shall
subsist side by side; and as things whose parts subsist side by side are the
proper subject of painting, so it, and it alone, can imitate physical beauty.
The poet, who can only show the elements of beauty one after another, in
succession, does on that very account forbear altogether the description of
physical beauty, as beauty. He recognizes that those elements, arranged in
succession, cannot possibly have the effect which they have when placed
side by side; that the concentrating gaze which we would direct upon them
immediately after their enumeration still affords us no harmonious picture;
that it passes the human imagination to represent to itself what kind of
effect this mouth, and this nose, and these eyes together have if one cannot
recall from nature or art a similar composition of such features (Chapter
"Another way in which poetry in its turn overtakes art in delineation of physical beauty is by transmuting beauty into charm. Charm is beauty in motion, and just for that reason less suitable to the painter than to the poet. The painter can only help us to guess the motion, but in fact his figures are motionless. Consequently grace with him is turned into grimace. But in poetry it remains what it is--a transitory beauty which we want to see again and again. It comes and goes; and as we can generally recall a movement more easily and more vividly than mere forms and colours, charm can in such a case work more powerfully on us than beauty." Chapter XXI; trans. by W. A. Steel, London, 1959.
|2.||A universe of dramatic history, as great and deep as Nature . . . Here is no poet, here is a creator, is history of the world . . . Take from this plant its soil, sap and strength, and plant it in the air: take from this man space, time, individual reality--you will have taken away his very breath and soul" . . .|
|3.||"Whatever God destined you to be, know the place allotted to you amongst men."|
|4.||"Let nothing that cannot be expressed, exist."|
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Publication information: Book title: German Men of Letters. Volume: 1. Contributors: Alex Natan - Editor. Publisher: O. Wolff. Place of publication: London. Publication year: 1961. Page number: 37.
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