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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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* " , - ' 1 i , ' ., " .. ** . * ' .. Beaoty and sublimity are the names of the most excelteiitt modes # f imaginative excitement , the most % excellent Meingr thef most pleasurable . The objects which are calculated ! therefore to excite these emotions , are fitted to produce a pterjmanent emotion , a continuance of pleasurableness ; they ' ccJiitain a fund of variety which allows not the palling of sameness ; and satiety to interrupt a sequence of pleasure flowing ' on in ah harmonious stream .
The notes of music—the . lines of a poem—the movements of a dance— -are in successive order , and carry on the ; mind of the contemplator in the successive order ; and one morsel 6 i excitement is presented to him after the other , in the most favourable and effective order , and the sequence of his pleasurable excitement is determined by and commensurate with the sequence and the tetm of those successive stimuli . ¦
The harmony of t&e ^ motion p f 6 duced by a wdtlc of art existing , in synchrony , i $ s in trutfi dvblved in stic 6 e&sion as much as that produced by a work of art presented in sequence ; and this effect , necessary to the continuance of the emotion , is effected by artful adjustment of prominences /; by adapting the power of its various parts to engage the attention . ' according to their due importance ; by light and shade and ^ colours ,
and the establishment of the due subbrdination of parts ; by which a completeness arid oneness is effected , not only of immediate effect , but of the successive effects to each other , one moment after another , while it is under comtemplation . Such works must needs be highly wrought , finely elaborated , their very simplicity cohtkiniriig ri , multitiide of detail indistinguishable in the perfecthess of arrarigem ^ nt ; a host of circumstance compressed' into pure refinement ^— -still , not ati
aggregate of circumstances ; because each of a host of circumritarices idiiea and liierg ^ - its ihdividuality , its capability of being regarded diatiuCtlyi by thb superioi dignity-of its pi ^ utl subordination * . . . : T ^ e litte ^ of the subordinate figures in any pictorial or sculptural effort of the highest cl ^ iss , owe their chtef pbt ^ r
to the relation in which tliiay stand to the principal ; the rdifef \ vhich th&jf affbWf , atad the iil ^ stratidn they Mve by 4 IMv position in vippoTiixtiity of doirtributirig , form the dhirf ^ tot ^ e b £ * % fir glory- The rulfe bf ii ^ i ^ ' « that ^ whatev ^^ fi-Hfetibh thW Iftiea of « h 6 p ^ ihfei iS ^ l figure ; 6 t ptirictp&l' pkM % { ihtt * digufe taiW t that ificlihatibn ttiu ^ b ^ ^ pgafetj W the
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Philosophical Analysis djf Harmonies and Contrasts . Wtl
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•• - ' . « . .. » . .. . . ¦ ¦ .. . ¦ „ s . » »» . I » . _ t . _ ( PJHltdSOJPHrCAL ANALYSIS OF HARMONIES ANB ' i , v ' ¦ - . ¦ ¦ ' . ¦ " CONTRASTS . ' . ¦ ¦'¦ ¦ : ¦ ¦ . ¦ : ¦ ¦; »
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No . 126 . Y
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Citation
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Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), June 1, 1837, page 337, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct1832/page/19/
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