Art quotes

Hopes and Fears for Art, lecture “The Art of the People”; Project Gutenberg #3773. The claim belongs to Morris’s Arts and Crafts social argument.

News from Nowhere, Old Hammond’s historical explanation of the utopian society; Project Gutenberg #3261. This is fictional dialogue, not a direct autobiographical maxim by Morris.

Hopes and Fears for Art, lecture “The Beauty of Life”; Project Gutenberg #3773. This is Morris’s aesthetic-social position, not an empirical necessity claim.

The Renaissance, Conclusion; Project Gutenberg #2398. The statement belongs to Pater’s aesthetic account of how art affects lived moments.

The Picture of Dorian Gray, 1891 edition, Preface; Wilde states one of his principles about the relation between artwork and artist.

The Picture of Dorian Gray, 1891 edition, Preface; part of Wilde’s warning about reading beneath artistic surfaces.

The Vanity of Human Wishes (1749), first-edition scholar passage, Wikisource scan leaf 28. “There mark what Ills the Scholar’s Life assail” is followed by “Toil, Envy, Want, the Garret, and the Jail.” The first-edition transcription uses a comma after “assail”; this collection’s semicolon is a retained punctuation normalization. The couplet remains satirical literary context rather than a forecast of every scholar’s life.

As a Man Thinketh, chapter “Visions and Ideals”; this is an excerpt from Allen’s longer exhortation to remain true to constructive ideals.

Northanger Abbey, in Henry Tilney’s conversation about reading novels.

A Defence of Poetry, written in 1821 and first published posthumously in 1840. The represented wording is verified in Project Gutenberg #5428 and the standalone Wikisource transcription; the immediately preceding sentences define moral imagination through identification with other people rather than through fantasy alone.

The Elements of Style, Chapter III, Rule 18, Project Gutenberg #37134; the principle is extended to sentences in paragraphs and paragraphs in compositions.

Lectures on Art, inaugural lecture, Project Gutenberg #19164. The excerpt addresses Oxford students beginning practical art study.

The Renaissance, Preface; Project Gutenberg #2398. Pater is describing aesthetic criticism, not claiming that personal impression alone settles every factual question.

Lectures on Art, Lecture III, Project Gutenberg #19164. Ruskin is discussing how practice changes the viewer’s ability to recognize workmanship in art.

The Elements of Style, Chapter III, Rule 12, Project Gutenberg #37134; Strunk follows the heading with examples contrasting vague and concrete phrasing.

The Elements of Style, Chapter III, Rule 11, Project Gutenberg #37134; the rule concerns sentence construction, not positive-thinking philosophy.

A Midsummer Night’s Dream, Act V, Scene 1; Theseus skeptically groups the lunatic, lover and poet through imagination. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act V transcription.

The Art of Literature, section “On Style,” T. Bailey Saunders translation; Project Gutenberg #10714. The English volume rearranges material drawn from Schopenhauer’s Parerga.

A Midsummer Night’s Dream, Act V, Scene 1; Theseus continues the same speech with the poet’s eye moving between heaven and earth. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act V transcription.

The Art of Literature, “On Style,” T. Bailey Saunders translation, Project Gutenberg #10714. Schopenhauer’s represented English essay says that conviction in the truth and importance of one’s thoughts supplies the enthusiasm for sustained work toward clearer and stronger expression. The volume rearranges Parerga material and the passage remains nineteenth-century literary counsel, not experimental writing science.

The Art of Literature, section “On Style,” T. Bailey Saunders translation; Project Gutenberg #10714. The following discussion criticizes overloaded parenthetical sentence construction.

“November,” in Poems: Second Series (1891), Project Gutenberg #12242. The passage is tied to the early edited collection and its editorial title.

“Beclouded,” in Poems: First Series (1890), Project Gutenberg #12242. Nature is personified in the poem; the editorial heading and punctuation reflect the early printed edition.

Narrative, Chapter VII; the sentence follows his reading of political dialogue and speeches defending emancipation and human rights.

“To Autumn,” final stanza, in Keats: Poems Published in 1820; Project Gutenberg #23684. The line follows the question “Where are the songs of Spring?” and answers by valuing autumn’s own sounds.

“To Autumn,” in Keats: Poems Published in 1820; Project Gutenberg #23684. The phrase opens a poem whose imagery follows ripening, harvest and the sounds of the season.

The Story of My Life; Keller summarizes the central place of literature in her intellectual life.

Dream Days, “The Reluctant Dragon,” Project Gutenberg #270. The child narrator and Charlotte are following uncertain tracks in snow and imagining a dragon; the sentence is playful literary narration about imagination and fixed expectations.

Appreciations, with an Essay on Style, essay “Style,” printed page 5 in the standard Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. “all progress of mind consists for the most part in differentiation...” opens Pater’s argument by distinguishing prose, verse and poetry. This is literary-aesthetic criticism, not a modern experimental claim about cognition or learning.

Appreciations, with an Essay on Style, essay “Style,” printed page 21 in the Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. “in literary as in all other art, structure is all-important” introduces Pater’s architectural account of composition, where a work’s end is foreseen in its beginning and each part remains conscious of the rest.

Appreciations, with an Essay on Style, essay “Wordsworth,” printed page 42 in the Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. The reading-between-the-lines passage follows Pater’s claim that Wordsworth-reading can train aesthetic discrimination; he attributes to receptive readers a habit of inference plus faith in concentration and collectedness of mind. This remains nineteenth-century literary criticism rather than cognitive-science evidence.

Essay “Progress of Culture,” later collected in Letters and Social Aims.

On Heroes, Hero-Worship, and the Heroic in History; Carlyle describes books as durable containers of human memory and achievement.

On The Art of Reading, Lecture V, Project Gutenberg #16579; the surrounding analogy connects disciplined reading with the harder sister art of writing.

Poem in Poems: First Series (1890), represented as “The Bee Is Not Afraid of Me” for source disambiguation; Project Gutenberg #12242. The title is an editorial first-line identifier.

The Wisdom of Life, T. Bailey Saunders translation; Project Gutenberg #10741. The simile compares a developing intellectual life with a slowly formed work of art.

Of Studies; Bacon distinguishes the intellectual uses of reading, conversation, and writing within the essay’s compact account of study and judgment.

The Principles of Success in Literature, chapter on Style, Project Gutenberg #10420; the sentence follows Lewes’s assertion that good style must be sincere.

The Principles of Success in Literature, chapter on Style, Project Gutenberg #10420; Lewes is warning writers against imitating Cicero, Titian or other masters.

The American Scholar; Emerson asks what the right use of books is and answers that they should inspire.

Pudd’nhead Wilson, Chapter XI epigraph; Twain presents the three-part compliment as a Calendar maxim about authors.

“Ode on a Grecian Urn,” closing lines.

The Tempest, Act 3, Scene 2; Caliban reassures Stephano and Trinculo about the mysterious music of the island.

The Awakening, Project Gutenberg #160. Mademoiselle Reisz first explains that an artist needs “the courageous soul,” later repeating the fuller wording as Edna’s story reaches its end; it is character dialogue within a novel, not a universal test of artistic legitimacy.

Lectures on Art, Lecture IV, Project Gutenberg #19164. The sentence belongs to Ruskin’s own theory of artistic quality.

Essays: First Series, “Friendship” (1841), verified against Project Gutenberg #2944 and the page-numbered 1907 Merrill/Turpin Essays witness in Project Gutenberg #16643, printed page 117. Emerson says “Our intellectual and active powers increase with our affection” before illustrating the claim with a scholar who finds thoughts and language when writing to a friend; it remains literary-philosophical observation rather than a quantified psychological law.

On the Art of Writing, Lecture VI, Project Gutenberg #17470; Quiller-Couch is recalling the preceding lecture’s argument about jargon and prose.

Modern Painters, Volume III, Part IV, Chapter III, “Of the Real Nature of Greatness of Style,” section 3, printed page 26, Project Gutenberg #38923. Ruskin contrasts pursuing art to become a “great man” or attract admiration with honest reverence for art and self-respect in its practice, which he says can rescue art from dilettantism and fit it for service. This is nineteenth-century art-critical / vocational argument, not a modern organizational or occupational-health rule.

Political Ideals, Chapter I, Project Gutenberg #4776. Russell distinguishes possessive impulses from creative or constructive impulses and then says that the best life gives the largest role to the latter. This remains a 1917 political-philosophy ideal about individual life and institutions, not a current empirical measure of wellbeing or creativity.

On the Art of Writing, Lecture V, “Interlude: On Jargon,” Project Gutenberg #17470; Quiller-Couch contrasts direct prose with inflated official phrasing.