Religious poetry is generally popular out of all proportion to its æsthetic merits.
If some pedants of æsthetic philosophy should declare that we ought not to be impressed because Crabbe breaks all their rules, we can only reply they are mistaking their trade.
And the strangely beautiful address to the cuckoo might be made into a text for a prolonged commentary by an æsthetic philosopher upon the power of early association.
For the æsthetic conscience is probably the most impartial and inexorable of the human powers; and this, because it acts most apart from any regards of self-interest or any apprehension of consequences.
Thus, however the popular current of the day may set, the judgment of the wise and good will ultimately give the law in this matter; and in that judgment the æsthetic and the moral conscience will ever be found to coincide.
Fortunately for the æsthetic proprieties, it has lost nothing of its seigneurial aspect of old as have so many of its contemporaries when put to a similar use.
As an architectural glory it is a mélange of many sorts, with scarce a definite æsthetic attribute.
But a general importance attaches to the analysis because these two types of knowledge (together with the æsthetic judgment, which is similarly analyzed) are regarded by Kant as coextensive with experience itself.
The evil is apprehended as part of a dramatic whole having positive moral or æsthetic value.
Where there is no conception of its moral significance, the repulsive possesses for the poet's consciousness the æsthetic value of diversity and contrast.
On the religious, moral, and æsthetic consequences of naturalism.
Cornelia replied eagerly, until the fact crept out from the judge that there was not an æsthetic dogma nor a gallery in the world with which he was not familiar.
As with the moral, so with the æsthetic sense—we find it in all stages of development.
Apart from the question of actual decay, every one feels the æsthetic gain which has been made when a thing ceases to be blankly new.
But here, in his analysis of the æsthetic faculty, the obsession with the exclusively ethical view of things which has so much impaired his own art seems to have led him on a false track.
Unlike all the other arts, its subject matter is not brought directly before the senses, but evoked by conventional symbols which have in themselves no æsthetic value whatever.
His book is a piece of genuine thinking, and in this it has few rivals among contemporary works of æsthetic criticism, especially in English.
The name of Homer, from the very beginning, has no connection either with the conception of æsthetic perfection or yet with the Iliad and the Odyssey.
So Homer, the poet of the Iliad and the Odyssey, is an æsthetic judgment.
It is, however, by no means affirmed against the poet of these epics that he was merely the imaginary being of an æsthetic impossibility, which can be the opinion of only very few philologists indeed.
The design of an epic such as the Iliad is not an entire whole, not an organism; but a number of pieces strung together, a collection of reflections arranged in accordance with æsthetic rules.
Homer as the composer of the Iliad and the Odyssey is not a historical tradition, but an æsthetic judgment.
The sum total of æsthetic singularity which every individual scholar perceived with his own artistic gifts, he now called Homer.
For all that, the book was a success in its day; and no less an authority than the æsthetic Grand Mogul, J.
Neither succeeded; suddenly in the midst of the so elaborate setting they perceived the æsthetic nullity of the ornament, its connotations were too complex to go into.
Either I am pleasingly self-deceived in my positive delight, or else there must be some lack of æsthetic sympathy and of poetic feeling in the accepted methods of presenting the poetry of China.
II The twenty-three students of Provençal and the seven people seriously interested in the technic and æsthetic of verse may communicate with me in person.
The emotions are equal before the æsthetic judgment.
No imagination; "a total absence of the moral and æsthetic qualities which produce doubt.
For the religious feeling, whenever it existed, gave art an element of thoroughness which the desire for pleasure and interest, even for æsthetic pleasure and interest, does not supply.
So far, therefore, we have seen that the capacity for æsthetic pleasure is allied to a certain nobility in the individual.
And here comes in what seems to me the highest benefit we can receive from art and from the æsthetic activities, which, as I have said before, are in art merely specialised and made publicly manifest.
Let us look at this fact, and at its practical applications, apart from all æsthetic experience.
The æsthetic sense of the Utopian child has not been deliberately trained, but it has been allowed, and even encouraged, to unfold itself; and the appeal that beauty makes to the heart meets in consequence with a ready response.
In and through the æsthetic instincts the soul grows in the direction of beauty.
We will therefore call these the Æsthetic Instincts, and place them in a class by themselves.
An original sense of the beautiful is just as necessary to æsthetic judgments, as a sense of right and wrong to the formation of any just conclusions or moral subjects.
The quality or state of being a virtuoso; in a bad sense, the character of one in whom mere artistic feeling or æsthetic cultivation takes the place of religious character; sentimentalism.
Sulphuric ether, common anæsthetic ether; -- so called because made by the catalytic action of sulphuric acid on alcohol.
If he makes no parade of definite æsthetic principles, it is clear that throughout he had such principles, and that they were principles of a very good kind.
In my gray eye there was nothing of the soft, dreamy expression usually supposed to accompany the æsthetic temperament.
As an æsthetic and philosophic work, it is of the highest value.
As a humoristic, satiric, pathetic, and æsthetic writer, he is unique in the French language.
He says the citizens of this state lack the richness of an æsthetic and religious tradition.
One is continually upsetting some frail structure, or tumbling over some well-meant æsthetic convenience.
One of my friends says, "There is nothing which so destroys the æsthetic sense as to see too many beautiful pictures at once.
Exclusively literary and æsthetic culture is, moreover, the worst preparation conceivable for a true knowledge of the pathological character of the works of degenerates.
This is the true method of the æsthetic wind-bag, who for every fact which he does not understand finds roundly-turned phrases with which he explains and justifies everything to his own satisfaction.
First of all, the word ‘realism’ itself has no æsthetic significance.
The notion of so-called ‘realism’ cannot withstand either psychological or æsthetic criticism.
He alone can venture to advance such principles who is without the least inkling of the psycho-physiology of the æsthetic feelings.
But æsthetic criticism is not my function; I willingly yield that to phrase-makers.
The fool who masquerades in Pall Mall does not see himself, and, therefore, does not enjoy the beautiful appearance which is supposed to be an æsthetic necessity for him.
It assumes a special title, but in spite of all sorts of incoherent cackle and subsequent attempts at mystification it has, beyond this name, no kind of general artistic principle or clear æsthetic ideal.
But grievous is the fate of him who has the audacity to characterize æsthetic fashions as forms of mental decay.
Now we will test and examine these affirmations seriatim, and see if they can be supported by Ibsen’s works, or are merely the arbitrary and undemonstrable expressions of æsthetic wind-bags.
He is very modern, in the sense of having tried many things and availed himself of all of the facilities of his time; but especially on this ground of having fought out for himself the battle of the Puritan habit and the æsthetic experiment.
To this group of æsthetic idealists belong, not to mention lesser names, Lessing and Hamann and Winckelmann, but above all Herder and Goethe.
That remark is true, for example, of æsthetic matters as well.
The æsthetic idealists said that it had been fatal to the element of the human.
It is no superficial essay on external matters of etiquette, or even of mere æsthetic culture: it goes to the very heart of the meaning of the abused word, Gentleman, and proves its root to be unselfishness.
If the reader chooses to consider this spur as an æsthetic feature altogether, he is at liberty to do so, and to transfer what we have here said of it to the beginning of Chap.
If, therefore, the curved outline be ever retained in such shafts, it must be in obedience to æsthetic laws only.
The above list will hopefully give you a few useful examples demonstrating the appropriate usage of "sthetic" in a variety of sentences. We hope that you will now be able to make sentences using this word.
