This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.
trigram | frequency |
---|---|
work of art | 158 |
as well as | 120 |
in order to | 119 |
on the other | 110 |
that is to | 106 |
is to say | 101 |
so far as | 100 |
of the beautiful | 95 |
the beauty of | 91 |
there is no | 90 |
works of art | 89 |
the other hand | 87 |
one of the | 86 |
it is not | 85 |
and of the | 82 |
a work of | 81 |
there is a | 80 |
the work of | 79 |
in so far | 75 |
of the aesthetic | 73 |
it is a | 71 |
at the same | 68 |
in the same | 67 |
part of the | 66 |
the same time | 66 |
as it is | 66 |
that of the | 66 |
of the spirit | 65 |
the expression of | 65 |
it is the | 64 |
the theory of | 63 |
we do not | 60 |
point of view | 60 |
more or less | 58 |
by means of | 58 |
of the body | 58 |
is to be | 57 |
of art is | 56 |
which is the | 56 |
the nature of | 55 |
as in the | 55 |
the fact that | 53 |
the aesthetic fact | 51 |
of the soul | 49 |
as we have | 49 |
critique of the | 48 |
of the same | 47 |
as to the | 47 |
in the mind | 47 |
out of the | 47 |
of the artist | 46 |
it may be | 46 |
that it is | 45 |
the idea of | 45 |
which we have | 45 |
but it is | 44 |
and it is | 43 |
is not a | 43 |
it would be | 41 |
it has been | 40 |
the case of | 40 |
on the contrary | 40 |
to be a | 40 |
in the case | 40 |
the art of | 39 |
the unity of | 38 |
sidenote critique of | 38 |
it will be | 38 |
the existence of | 38 |
the history of | 38 |
the life of | 37 |
the sense of | 37 |
it must be | 37 |
of the whole | 37 |
this is the | 37 |
the end of | 37 |
because it is | 37 |
the science of | 36 |
the form of | 36 |
to be the | 36 |
as it were | 36 |
far as it | 36 |
some of the | 35 |
of the most | 35 |
of the mind | 35 |
of the word | 35 |
and in the | 35 |
they are not | 35 |
theory of the | 34 |
it does not | 34 |
of art and | 34 |
is not the | 34 |
of the human | 34 |
which it is | 33 |
of the individual | 33 |
expression of the | 33 |
use of the | 33 |
the purpose of | 33 |
in the first | 32 |
the world of | 32 |
the use of | 32 |
the works of | 32 |
form of the | 32 |
the possibility of | 32 |
color and line | 32 |
to the eye | 32 |
we have already | 32 |
the point of | 31 |
to be found | 31 |
and so on | 31 |
beauty of the | 30 |
it is necessary | 30 |
when it is | 30 |
of our own | 30 |
or of the | 30 |
in respect to | 30 |
of the object | 30 |
if it be | 30 |
of what is | 30 |
be able to | 29 |
of the arts | 29 |
the sake of | 29 |
what has been | 29 |
the spirit of | 29 |
with regard to | 29 |
for the sake | 29 |
no matter how | 28 |
those of the | 28 |
the thought of | 28 |
the whole of | 28 |
the representation of | 28 |
the natural sciences | 28 |
with reference to | 28 |
in which the | 28 |
he does not | 27 |
the character of | 27 |
the value of | 27 |
that which is | 27 |
artistic and literary | 27 |
and the other | 26 |
in order that | 26 |
the problem of | 26 |
according to the | 26 |
the meaning of | 26 |
idea of the | 26 |
it is impossible | 26 |
the power of | 26 |
the aesthetic of | 26 |
the study of | 26 |
of the two | 26 |
the philosophy of | 25 |
even in the | 25 |
the human body | 25 |
as they are | 25 |
painting and sculpture | 25 |
so long as | 25 |
be found in | 25 |
the aesthetic experience | 25 |
in the world | 25 |
a part of | 25 |
is necessary to | 25 |
that there is | 25 |
in the sense | 25 |
because they are | 24 |
unity of the | 24 |
they do not | 24 |
to be sure | 24 |
the principle of | 24 |
this or that | 24 |
and that the | 24 |
the place of | 24 |
of all the | 24 |
a kind of | 24 |
of the best | 24 |
to that of | 24 |
may be said | 24 |
a sort of | 24 |
which may be | 23 |
would be a | 23 |
the pleasure of | 23 |
of the other | 23 |
is one of | 23 |
in the imagination | 23 |
far as they | 23 |
of the imagination | 23 |
there must be | 23 |
of the work | 23 |
seem to be | 23 |
something of the | 23 |
end of the | 23 |
the perception of | 23 |
the difference between | 23 |
of the world | 22 |
of art as | 22 |
a series of | 22 |
it is in | 22 |
that of a | 22 |
there may be | 22 |
is the most | 22 |
what we call | 22 |
in the aesthetic | 22 |
which is a | 22 |
as that of | 22 |
lines of the | 22 |
the concept of | 22 |
it is to | 22 |
in like manner | 22 |
but in the | 22 |
the same way | 22 |
the elements of | 22 |
what is the | 22 |
of which the | 22 |
in this case | 22 |
the beautiful is | 21 |
of the past | 21 |
looked upon as | 21 |
the beautiful and | 21 |
the method of | 21 |
found in the | 21 |
are to be | 21 |
to have been | 21 |
of a man | 21 |
parts of the | 21 |
the relation of | 21 |
that art is | 21 |
on account of | 21 |
in the other | 21 |
of view of | 21 |
well as the | 21 |
as much as | 21 |
of his own | 21 |
there can be | 21 |
the feeling of | 21 |
when they are | 21 |
as regards the | 21 |
the line of | 20 |
the first place | 20 |
of the idea | 20 |
forms of the | 20 |
not to be | 20 |
the light of | 20 |
of the theory | 20 |
for it is | 20 |
the essence of | 20 |
knowledge of the | 20 |
the quality of | 20 |
is in the | 20 |
it cannot be | 20 |
the eighteenth century | 20 |
of the medium | 20 |
is impossible to | 20 |
of the parts | 20 |
which we are | 20 |
the aesthetic activity | 20 |
of the ugly | 20 |
of the man | 20 |
to the whole | 20 |
of a building | 20 |
the same thing | 19 |
image of the | 19 |
the activity of | 19 |
be made to | 19 |
as i have | 19 |
pleasure in the | 19 |
and to the | 19 |
i do not | 19 |
meaning of the | 19 |
study of the | 19 |
space and time | 19 |
to say that | 19 |
the distinction between | 19 |
it is an | 19 |
with that of | 19 |
the name of | 19 |
in terms of | 19 |
nature of the | 19 |
of the practical | 19 |
the development of | 19 |
of the latter | 19 |
the practical activity | 19 |
character of the | 19 |
the result of | 19 |
which they are | 19 |
of art are | 19 |
belong to the | 19 |
with one another | 18 |
and at the | 18 |
purpose of art | 18 |
they may be | 18 |
the origin of | 18 |
at the end | 18 |
the process of | 18 |
that they are | 18 |
the word beautiful | 18 |
the sphere of | 18 |
as those of | 18 |
art is a | 18 |
an expression of | 18 |
that he is | 18 |
which is not | 18 |
sense of the | 18 |
of works of | 18 |
the presence of | 18 |
which can be | 18 |
representation of the | 18 |
it in the | 18 |
the parts of | 18 |
the man of | 18 |
a matter of | 18 |
the same as | 18 |
in such a | 18 |
to which the | 18 |
to the same | 18 |
view of the | 18 |
aesthetic of the | 17 |
the eye is | 17 |
conception of the | 17 |
if it were | 17 |
difference between the | 17 |
it is only | 17 |
philosophy of the | 17 |
it is clear | 17 |
the cause of | 17 |
of nature and | 17 |
on the one | 17 |
it to be | 17 |
by no means | 17 |
there is nothing | 17 |
of the poet | 17 |
colors and lines | 17 |
in the most | 17 |
it is this | 17 |
of the great | 17 |
that can be | 17 |
of this kind | 17 |
of which it | 17 |
we have seen | 17 |
of the eye | 17 |
for this reason | 17 |
is that of | 17 |
but there is | 17 |
such as the | 17 |
of the first | 17 |
the production of | 16 |
respect to the | 16 |
and this is | 16 |
is not so | 16 |
to the beautiful | 16 |
the course of | 16 |
to be an | 16 |
what we have | 16 |
it is also | 16 |
and the like | 16 |
attention to the | 16 |
of the artistic | 16 |
is no longer | 16 |
to do with | 16 |
is of the | 16 |
of the face | 16 |
the most important | 16 |
ought to be | 16 |
as a whole | 16 |
light and shade | 16 |
would not have | 16 |
for the same | 16 |
the movement of | 16 |
in our own | 16 |
a piece of | 16 |
is the same | 16 |
with the other | 16 |
the principles of | 16 |
of the natural | 16 |
the application of | 16 |
the lines of | 16 |
at any rate | 16 |
the experience of | 16 |
the object of | 16 |
the limits of | 16 |
be said to | 16 |
the attempt to | 16 |
to the mind | 16 |
of a work | 16 |
said to be | 16 |
the truth of | 16 |
theory of aesthetic | 16 |
in comparison with | 15 |
the basis of | 15 |
the one hand | 15 |
seem to have | 15 |
form and content | 15 |
it is true | 15 |
the conception of | 15 |
to each other | 15 |
of the inner | 15 |
of human life | 15 |
can only be | 15 |
of the picture | 15 |
as has been | 15 |
of light and | 15 |
we shall see | 15 |
of which we | 15 |
part of a | 15 |
and for the | 15 |
art is the | 15 |
in which it | 15 |
by the same | 15 |
has already been | 15 |
one of these | 15 |
he did not | 15 |
of the words | 15 |
there is an | 15 |
the function of | 15 |
of the beauty | 15 |
would have been | 15 |
the artist is | 15 |
beauty in the | 15 |
all the other | 15 |
those who have | 15 |
that it was | 15 |
the love of | 15 |
and literary history | 15 |
of the head | 15 |
and with the | 15 |
may not be | 15 |
which has been | 15 |
in the middle | 15 |
this does not | 14 |
would not be | 14 |
the first of | 14 |
in all the | 14 |
than in the | 14 |
of the comic | 14 |
the number of | 14 |
more and more | 14 |
and the more | 14 |
the forms of | 14 |
of the three | 14 |
we not only | 14 |
as is the | 14 |
an element of | 14 |
from that of | 14 |
of art in | 14 |
not in the | 14 |
the help of | 14 |
of which is | 14 |
the inner life | 14 |
life of the | 14 |
a man of | 14 |
in the whole | 14 |
to which we | 14 |
between the two | 14 |
for the most | 14 |
of the one | 14 |
of such a | 14 |
spirit of art | 14 |
of the real | 14 |
to the other | 14 |
we are not | 14 |
as it may | 14 |
in other words | 14 |
in the course | 14 |
at the most | 14 |
is not only | 14 |
has been said | 14 |
of poetry and | 14 |
of the concept | 14 |
the creation of | 14 |
imitation of nature | 14 |
is not to | 14 |
of the different | 14 |
it to the | 14 |
the shape of | 14 |
of the sympathetic | 14 |
to make the | 14 |
of this is | 14 |
movement of the | 14 |
belongs to the | 14 |
is the case | 14 |
there is in | 14 |
seems to be | 14 |
of form and | 14 |
in proportion as | 14 |
in which they | 14 |
and all the | 14 |
the influence of | 14 |
the contemplation of | 14 |
would be the | 14 |
for the first | 14 |
distinction between the | 14 |
in accordance with | 14 |
any of the | 14 |
should not be | 14 |
of space and | 14 |
the first time | 14 |
we should not | 13 |
of the problem | 13 |
but to the | 13 |
an image of | 13 |
of the various | 13 |
in the latter | 13 |
to make a | 13 |
as we know | 13 |
means of the | 13 |
the effect of | 13 |
at the beginning | 13 |
of the renaissance | 13 |
in addition to | 13 |
movement of lines | 13 |
can be no | 13 |
lines of a | 13 |
could not be | 13 |
of the art | 13 |
as we shall | 13 |
of the lines | 13 |
are capable of | 13 |
the image of | 13 |
perception of the | 13 |
what is called | 13 |
expression in the | 13 |
side of the | 13 |
may be called | 13 |
that is the | 13 |
and the beautiful | 13 |
existence of a | 13 |
by which we | 13 |
in the work | 13 |
of the muscles | 13 |
we come to | 13 |
and when the | 13 |
that in the | 13 |
the impression of | 13 |
will be found | 13 |
of artistic and | 13 |
is not an | 13 |
made use of | 13 |
that we have | 13 |
of the second | 13 |
arising from the | 13 |
in that case | 13 |
elements of the | 13 |
of the thought | 13 |
any more than | 13 |
in this way | 13 |
the critique of | 13 |
unity in variety | 13 |
value of art | 13 |
which is called | 13 |
it be not | 13 |
so that the | 13 |
depends upon the | 13 |
to speak of | 13 |
and there is | 13 |
of the form | 13 |
back to the | 13 |
state of the | 13 |
is the first | 13 |
work of the | 13 |
is at once | 13 |
science of the | 13 |
of its own | 13 |
which we can | 13 |
there is the | 13 |
and by the | 13 |
so as to | 13 |
more than a | 13 |
the domain of | 13 |
the surface of | 13 |
of color and | 13 |
of a certain | 13 |
the qualities of | 13 |
the impossibility of | 13 |
the body is | 13 |
shape of the | 13 |
in this sense | 13 |
to the aesthetic | 13 |
of the more | 13 |
theory of art | 12 |
together with the | 12 |
what it is | 12 |
just as the | 12 |
of the former | 12 |
is also a | 12 |
the relation between | 12 |
of the senses | 12 |
the human form | 12 |
or to the | 12 |
in the form | 12 |
will not be | 12 |
the middle age | 12 |
does not exist | 12 |
form of knowledge | 12 |
in his own | 12 |
the best of | 12 |
problem of the | 12 |
the doctrine of | 12 |
in what manner | 12 |
to explain the | 12 |
might have been | 12 |
much of the | 12 |
the nineteenth century | 12 |
as may be | 12 |
this is not | 12 |
nature of art | 12 |
must be a | 12 |
made by the | 12 |
in the second | 12 |
quality of the | 12 |
of the expression | 12 |
and if we | 12 |
the subject of | 12 |
pleasure and pain | 12 |
in the last | 12 |
one and the | 12 |
it will not | 12 |
between art and | 12 |
as for the | 12 |
the reproduction of | 12 |
as we are | 12 |
of thought and | 12 |
the man who | 12 |
sensibility to the | 12 |
qualities of the | 12 |
the knowledge of | 12 |
in painting and | 12 |
we look at | 12 |
we must not | 12 |
as in a | 12 |
of the objects | 12 |
them in a | 12 |
the criticism of | 12 |
and on the | 12 |
of those who | 12 |
same way as | 12 |
the same kind | 12 |
the expressiveness of | 12 |
due to the | 12 |
more than the | 12 |
the language of | 12 |
not of the | 12 |
is clear that | 12 |
the judgment of | 12 |
of the greatest | 12 |
to what is | 12 |
the desire to | 12 |
and that of | 12 |
in the one | 12 |
order to be | 12 |
it is evident | 12 |
the other arts | 12 |
to the more | 12 |
it should be | 12 |
the one is | 12 |
half of the | 12 |
as to make | 12 |
art is not | 12 |
be called the | 12 |
owing to the | 12 |
fact that the | 12 |
they must be | 12 |
are not only | 12 |
nothing to do | 12 |
away from the | 12 |
the reader to | 11 |
as much of | 11 |
piece of music | 11 |
the true nature | 11 |
of a picture | 11 |
to the artist | 11 |
of the subject | 11 |
said to have | 11 |
not have been | 11 |
the ideas of | 11 |
as compared with | 11 |
there are no | 11 |
they are in | 11 |
light of the | 11 |
definition of the | 11 |
he would have | 11 |
as if it | 11 |
any one of | 11 |
the search for | 11 |
art and science | 11 |
place of the | 11 |
the question of | 11 |
regard to the | 11 |
for the expression | 11 |
the rest of | 11 |
where it is | 11 |
the colors and | 11 |
form of a | 11 |
return to the | 11 |
the mind of | 11 |
of the nature | 11 |
the hands of | 11 |
the appreciation of | 11 |
or at least | 11 |
with the eye | 11 |
beautiful and the | 11 |
enter into the | 11 |
seems to have | 11 |
the laws of | 11 |
instead of being | 11 |
does not belong | 11 |
we get the | 11 |
may be seen | 11 |
they are the | 11 |
even when the | 11 |
analysis of the | 11 |
of art to | 11 |
what may be | 11 |
we have a | 11 |
man of science | 11 |
of a thing | 11 |
were it not | 11 |
it is possible | 11 |
parts of speech | 11 |
men and women | 11 |
in his mind | 11 |
is said to | 11 |
the case with | 11 |
may be a | 11 |
has not been | 11 |
that the artist | 11 |
the beauties of | 11 |
be looked upon | 11 |
in the very | 11 |
reference to the | 11 |
the characteristics of | 11 |
most of the | 11 |
connected with the | 11 |
of the elements | 11 |
which the artist | 11 |
in the former | 11 |
in its turn | 11 |
in which he | 11 |
doctrine of the | 11 |
the top of | 11 |
we find the | 11 |
line of beauty | 11 |
of the ideal | 11 |
the most part | 11 |
something more than | 11 |
be said of | 11 |
in a manner | 11 |
of a single | 11 |
held to be | 11 |
the universality of | 11 |
make use of | 11 |
as far as | 11 |
the mind to | 11 |
true nature of | 11 |
for there is | 11 |
not belong to | 11 |
contemplation of the | 11 |
which we shall | 11 |
not only the | 11 |
of the original | 11 |
which does not | 11 |
compared with the | 11 |
each one of | 11 |
the degree of | 11 |
the one and | 11 |
of a word | 11 |
the direction of | 11 |
to those of | 11 |
the purposes of | 11 |
from the point | 11 |
we think of | 11 |
that is not | 11 |
with those of | 10 |
can never be | 10 |
yet it is | 10 |
the beautiful itself | 10 |
no one can | 10 |
value of the | 10 |
and in this | 10 |
in the works | 10 |
or in the | 10 |
in the following | 10 |
has been the | 10 |
in this manner | 10 |
that the aesthetic | 10 |
of art may | 10 |
since it is | 10 |
of the divine | 10 |
all sorts of | 10 |
that we can | 10 |
the appearance of | 10 |
the concepts of | 10 |
the field of | 10 |
to make clear | 10 |
its own sake | 10 |
points of view | 10 |
the scope of | 10 |
consciousness of the | 10 |
he is a | 10 |
the order of | 10 |
there is not | 10 |
that we are | 10 |
of the line | 10 |
has to be | 10 |
in the life | 10 |
content and form | 10 |
nothing but the | 10 |
the music of | 10 |
in the face | 10 |
for in the | 10 |
the content of | 10 |
to be made | 10 |
it is no | 10 |
the importance of | 10 |
the practical man | 10 |
of the nineteenth | 10 |
in the present | 10 |
to the shape | 10 |
the other of | 10 |
and the same | 10 |
works of the | 10 |
but they are | 10 |
of the eighteenth | 10 |
art can be | 10 |
the time of | 10 |
thought of the | 10 |
the beginning of | 10 |
we have been | 10 |
can it be | 10 |
for its own | 10 |
of the truth | 10 |
it seems to | 10 |
philosophy of history | 10 |
in the air | 10 |
a science of | 10 |
because of the | 10 |
that we should | 10 |
that have been | 10 |
and if the | 10 |
out of which | 10 |
place in the | 10 |
what i have | 10 |
when we are | 10 |
to the beauty | 10 |
we shall not | 10 |
the necessity of | 10 |
a form of | 10 |
of the spectator | 10 |
the effects of | 10 |
has sometimes been | 10 |
in all its | 10 |
which are the | 10 |
by those who | 10 |
in some degree | 10 |
one of them | 10 |
because of its | 10 |
like that of | 10 |
in a picture | 10 |
a poet of | 10 |
the beautiful as | 10 |
is not sufficient | 10 |
the eye of | 10 |
as he is | 10 |
and of its | 10 |
to the fact | 10 |
ceases to be | 10 |
of the self | 10 |
only in the | 10 |
power of the | 10 |
it is that | 10 |
one or more | 10 |
the serpentine line | 10 |
it from the | 10 |
of men and | 10 |
expressiveness of the | 10 |
belonging to the | 10 |
there is always | 10 |
we should be | 10 |
the same reason | 10 |
the seventeenth century | 10 |
the union of | 10 |
so much of | 10 |
to the first | 10 |
and when we | 10 |
example of the | 10 |
of them in | 10 |
than that of | 10 |
of the colors | 10 |
relation to the | 10 |
of the content | 10 |
in the eighteenth | 10 |
the useful and | 10 |
in a more | 10 |
of a great | 10 |
in the history | 10 |
on the same | 10 |
with which we | 10 |
the reader will | 10 |
of the feelings | 10 |
the historian of | 10 |
it as a | 10 |
made up of | 10 |
must not be | 10 |
the values of | 10 |
every part of | 10 |
is nothing but | 10 |
intuition of the | 10 |
be seen in | 10 |
may be of | 10 |
has often been | 10 |
not to the | 10 |
in the next | 9 |
there is much | 9 |
the division of | 9 |
large part of | 9 |
the one case | 9 |
but if the | 9 |
that there are | 9 |
the consciousness of | 9 |
the formation of | 9 |
on the stage | 9 |
it can be | 9 |
those who are | 9 |
the pleasure in | 9 |
the confusion between | 9 |
in the sounds | 9 |
it is always | 9 |
here is a | 9 |
the most beautiful | 9 |
and in what | 9 |
there is another | 9 |
first of all | 9 |
of the theoretic | 9 |
to be beautiful | 9 |
part of our | 9 |
the heart of | 9 |
for the moment | 9 |
we have the | 9 |
in which all | 9 |
of the third | 9 |
which he is | 9 |
a theory of | 9 |
surface of the | 9 |
in the theory | 9 |
an example of | 9 |
the first to | 9 |
of things and | 9 |
different from the | 9 |
the force of | 9 |
to the former | 9 |
when we come | 9 |
what is it | 9 |
in real life | 9 |
of pure intuition | 9 |
such as are | 9 |
either of these | 9 |
them to be | 9 |
all of them | 9 |
the source of | 9 |
of the chief | 9 |
the other is | 9 |
of lines and | 9 |
we want of | 9 |
the poet is | 9 |
given to the | 9 |
is the basis | 9 |
much as possible | 9 |
which i have | 9 |
may be made | 9 |
every work of | 9 |
have to be | 9 |
but as the | 9 |
when we have | 9 |
a sense of | 9 |
a large part | 9 |
between the aesthetic | 9 |
other of the | 9 |
the medium of | 9 |
the relations of | 9 |
be thought of | 9 |
what are the | 9 |
in a single | 9 |
in proportion to | 9 |
relation between the | 9 |
of the things | 9 |
opposed to the | 9 |
the words of | 9 |
to the nature | 9 |
to be seen | 9 |
of beauty and | 9 |
the analysis of | 9 |
experience of art | 9 |
poetry is the | 9 |
the surfaces of | 9 |
it is well | 9 |
the repetition of | 9 |
little or no | 9 |
yet there is | 9 |
of the intellect | 9 |
and through the | 9 |
come to be | 9 |
can be made | 9 |
precisely because it | 9 |
is full of | 9 |
but with the | 9 |
two forms of | 9 |
that there may | 9 |
in what we | 9 |
means of which | 9 |
the hand of | 9 |
of the highest | 9 |
the more complex | 9 |
function of the | 9 |
of art that | 9 |
are the same | 9 |
conception of art | 9 |
in some measure | 9 |
of the old | 9 |
in the hands | 9 |
he who is | 9 |
the imitation of | 9 |
tone of the | 9 |
only through the | 9 |
from the other | 9 |
but we must | 9 |
art of painting | 9 |
a state of | 9 |
of science and | 9 |
lies in the | 9 |
values of the | 9 |
are apt to | 9 |
to the latter | 9 |
definition of art | 9 |
of the universe | 9 |
and even in | 9 |
a representation of | 9 |
is the aesthetic | 9 |
which is an | 9 |
of human nature | 9 |
of poetry is | 9 |
the moment of | 9 |
nothing more than | 9 |
the artist and | 9 |
of art has | 9 |
far as he | 9 |
the facts of | 9 |
general idea of | 9 |
with a view | 9 |
the rhythm of | 9 |
is possible to | 9 |
of the experience | 9 |
we shall find | 9 |
the beautiful in | 9 |
the manner of | 9 |
do not know | 9 |
they are all | 9 |
all that is | 9 |
aware of the | 9 |
by which the | 9 |
there are many | 9 |
as the science | 9 |
well as in | 9 |
of the spiritual | 9 |
nature of language | 9 |
as soon as | 9 |
in the human | 9 |
the physically beautiful | 9 |
and we find | 9 |
of the above | 9 |
of the true | 9 |
of their own | 9 |
we shall have | 9 |
to the imagination | 9 |
is the more | 9 |
the independence of | 9 |
between poetry and | 9 |
as one of | 9 |
the amount of | 9 |
reproduction of the | 9 |
the genius of | 9 |
concept of the | 9 |
which cannot be | 9 |
to the work | 9 |
is found in | 9 |
and the aesthetic | 9 |
when he is | 9 |
question of the | 9 |
because they have | 9 |
seen in the | 9 |
on one side | 8 |
attitude of the | 8 |
to wish to | 8 |
a feeling of | 8 |
those of a | 8 |
the sight of | 8 |
the reality of | 8 |
have been so | 8 |
superior to the | 8 |
for the purpose | 8 |
that has been | 8 |
of a new | 8 |
of what we | 8 |
do with the | 8 |
the relations between | 8 |
upon art as | 8 |
and there are | 8 |
as if they | 8 |
i have already | 8 |
with which it | 8 |
are in the | 8 |
a view to | 8 |
to us in | 8 |
accordance with the | 8 |
as to its | 8 |
the same in | 8 |
the position of | 8 |
at a distance | 8 |
is based on | 8 |
revelation of the | 8 |
or of a | 8 |
and the ugly | 8 |
in the best | 8 |
who does not | 8 |
of the church | 8 |
pleasure of the | 8 |
a unity of | 8 |
the variety of | 8 |
and with a | 8 |
other forms of | 8 |
of taste and | 8 |
in the words | 8 |
art does not | 8 |
some of these | 8 |
of it as | 8 |
we shall be | 8 |
along with the | 8 |
is composed of | 8 |
of the material | 8 |
to recognize the | 8 |
cease to be | 8 |
to belong to | 8 |
little more than | 8 |
the nature and | 8 |
of time and | 8 |
is divided into | 8 |
we find it | 8 |
of the earth | 8 |
to our own | 8 |
of the sea | 8 |
independence of art | 8 |
of the building | 8 |
there are two | 8 |
for which reason | 8 |
of the many | 8 |
and the practical | 8 |
has been called | 8 |
a single line | 8 |
it is therefore | 8 |
to the world | 8 |
the theoretic spirit | 8 |
cannot fail to | 8 |
it with the | 8 |
expressed in the | 8 |
in place of | 8 |
in a certain | 8 |
say that the | 8 |
the task of | 8 |
with each other | 8 |
how can we | 8 |
of this sort | 8 |
it becomes a | 8 |
in the medium | 8 |
the progress of | 8 |
that would be | 8 |
interpretation of the | 8 |
to give a | 8 |
as that which | 8 |
aesthetic fact is | 8 |
and from the | 8 |
lines and colours | 8 |
of the drama | 8 |
in a work | 8 |
in the future | 8 |
itself to the | 8 |
from the eye | 8 |
of the action | 8 |
the business of | 8 |
have the same | 8 |
the other side | 8 |
which have been | 8 |
muscles of the | 8 |
with all the | 8 |
will always be | 8 |
the enjoyment of | 8 |
can be expressed | 8 |
of art can | 8 |
the difficulty of | 8 |
man on the | 8 |
and just as | 8 |
such a way | 8 |
consists in the | 8 |
have been the | 8 |
the soul of | 8 |
on the hill | 8 |
part of it | 8 |
in this place | 8 |
the reason why | 8 |
of life and | 8 |
our knowledge of | 8 |
of human activity | 8 |
to return to | 8 |
is always a | 8 |
on this account | 8 |
of the mountain | 8 |
but this does | 8 |
to those who | 8 |
comparison with the | 8 |
there would be | 8 |
be the same | 8 |
the measure of | 8 |
we have to | 8 |
with the aesthetic | 8 |
of feeling and | 8 |
in relation to | 8 |
the side of | 8 |
for they are | 8 |
appreciation of the | 8 |
which is in | 8 |
intuition and expression | 8 |
that he should | 8 |
the criterion of | 8 |
them to the | 8 |
each of these | 8 |
the structure of | 8 |
not mean that | 8 |
the sound of | 8 |
be the case | 8 |
such a one | 8 |
the death of | 8 |
not succeed in | 8 |
which we may | 8 |
added to the | 8 |
in one of | 8 |
applied to the | 8 |
in the soul | 8 |
as if the | 8 |
that these are | 8 |
i mean the | 8 |
who do not | 8 |
unity of a | 8 |
and literary classes | 8 |
great number of | 8 |
art and of | 8 |
spirit of the | 8 |
the mind is | 8 |
of the concrete | 8 |
the absurdity of | 8 |
of the author | 8 |
the philosopher of | 8 |
from the aesthetic | 8 |
well as of | 8 |
and in so | 8 |
vision of the | 8 |
addition to the | 8 |
the material of | 8 |
the discovery of | 8 |
it is difficult | 8 |
even the most | 8 |
art of the | 8 |
of the useful | 8 |
a picture of | 8 |
useful and the | 8 |
it is as | 8 |
arises from the | 8 |
activity of externalization | 8 |
thought of as | 8 |
a philosophy of | 8 |
not be a | 8 |
and if it | 8 |
of beauty in | 8 |
for a moment | 8 |
with the practical | 8 |
to one another | 8 |
on the ground | 8 |
the shapes of | 8 |
which there is | 8 |
charm of the | 8 |
appear to be | 8 |
to what we | 8 |
the attitude of | 8 |
as to whether | 8 |
for the artist | 8 |
right and left | 8 |
in dealing with | 8 |
of poetic imagination | 8 |
such as those | 8 |
much as the | 8 |
sound of the | 8 |
writers of the | 8 |
in this respect | 8 |
the service of | 8 |
for this purpose | 8 |
to the second | 8 |
the contrast between | 8 |
what they are | 8 |
characteristic of the | 8 |
the minds of | 8 |
not a mere | 8 |
a combination of | 8 |
look at the | 8 |
out of his | 8 |
said of the | 8 |
one of his | 8 |
of the poetic | 8 |
mind of the | 8 |
our interest in | 8 |
to do so | 8 |
this would be | 8 |
to some extent | 8 |
what we want | 8 |
the means of | 7 |
in the direction | 7 |
from which they | 7 |
the adjective beautiful | 7 |
in that of | 7 |
to say of | 7 |
just as in | 7 |
of its beauty | 7 |
in some way | 7 |
of being a | 7 |
it should not | 7 |
the color of | 7 |
of the very | 7 |
the true and | 7 |
they can be | 7 |
an act of | 7 |
has nothing to | 7 |
we call the | 7 |
the middle ages | 7 |
of him who | 7 |
as we should | 7 |
of the sense | 7 |
for the aesthetic | 7 |
example of this | 7 |
the first is | 7 |
are not aesthetic | 7 |
case of the | 7 |
is perhaps the | 7 |
the same sort | 7 |
and as a | 7 |
storage and transfer | 7 |
as it has | 7 |
of his age | 7 |
is able to | 7 |
with the help | 7 |
the results of | 7 |
of the origin | 7 |
by way of | 7 |
is apt to | 7 |
be said that | 7 |
of aesthetic emotion | 7 |
the perfection of | 7 |
that when we | 7 |
repetition of the | 7 |
of the unity | 7 |
of cubic existence | 7 |
of the beholder | 7 |
to a more | 7 |
that we may | 7 |
the parts are | 7 |
figure of a | 7 |
a mixture of | 7 |
so much as | 7 |
that is of | 7 |
the muscles of | 7 |
proportion to the | 7 |
of aesthetic expression | 7 |
from time to | 7 |
in the place | 7 |
feeling tone of | 7 |
the proportions of | 7 |
may have been | 7 |
two or more | 7 |
of a painting | 7 |
the substance of | 7 |
of a beautiful | 7 |
the whole and | 7 |
is true that | 7 |
the power to | 7 |
of all our | 7 |
presence of the | 7 |
of a poet | 7 |
the ideal of | 7 |
to the ear | 7 |
of the musical | 7 |
the eyes of | 7 |
the recognition of | 7 |
of the italian | 7 |
to be as | 7 |
in itself and | 7 |
of taste is | 7 |
the practical and | 7 |
examples of the | 7 |
expression is a | 7 |
much the same | 7 |
come to the | 7 |
as a result | 7 |
for all the | 7 |
the activities of | 7 |
of the will | 7 |
the part of | 7 |
do not mean | 7 |
it is more | 7 |
is the art | 7 |
think of the | 7 |
art may be | 7 |
but of the | 7 |
which do not | 7 |
of any kind | 7 |
figure of the | 7 |
the dimensions of | 7 |
a glimpse of | 7 |
in the body | 7 |
and he who | 7 |
depend upon the | 7 |
the scientific and | 7 |
and that is | 7 |
of the writer | 7 |
laws of the | 7 |
to give it | 7 |
of some of | 7 |
same kind of | 7 |
rest of the | 7 |
a symbol of | 7 |
is the only | 7 |
than any of | 7 |
the identity of | 7 |
to have some | 7 |
more of the | 7 |
the head of | 7 |
in a word | 7 |
which are not | 7 |
and what we | 7 |
we have not | 7 |
feeling for the | 7 |
at a certain | 7 |
the greater the | 7 |
of a perfect | 7 |
the thought is | 7 |
after what manner | 7 |
of the ancients | 7 |
that there exist | 7 |
of art or | 7 |
which they have | 7 |
is evident that | 7 |
at the time | 7 |
to form a | 7 |
in the power | 7 |
the body of | 7 |
is that it | 7 |
color of the | 7 |
is not merely | 7 |
sympathy with the | 7 |
the fact of | 7 |
that it would | 7 |
that it may | 7 |
artist and the | 7 |
and in its | 7 |
sense of beauty | 7 |
among the most | 7 |
of a fine | 7 |
the representative arts | 7 |
the system of | 7 |
the state of | 7 |
is a part | 7 |
there was a | 7 |
of the statue | 7 |
the objects of | 7 |
by reason of | 7 |
it is so | 7 |
one another in | 7 |
in the end | 7 |
which are called | 7 |
is an expression | 7 |
every form of | 7 |
to have a | 7 |
a number of | 7 |
the colors of | 7 |
which it has | 7 |
and every other | 7 |
the range of | 7 |
feeling of the | 7 |
of harmony and | 7 |
independent of the | 7 |
not only in | 7 |
of art from | 7 |
the middle of | 7 |
is not possible | 7 |
through which the | 7 |
to which it | 7 |
feeling in the | 7 |
is to the | 7 |
all works of | 7 |
or any other | 7 |
of the inferno | 7 |
to understand the | 7 |
idea of what | 7 |
function of art | 7 |
do not exist | 7 |
truth in the | 7 |
so much the | 7 |
to the reader | 7 |
to look at | 7 |
all of which | 7 |
the action of | 7 |
which makes it | 7 |
be at once | 7 |
we have observed | 7 |
and the most | 7 |
man and the | 7 |
as for example | 7 |
instead of a | 7 |
of the particular | 7 |
he speaks of | 7 |
as a rule | 7 |
from the others | 7 |
the face of | 7 |
just as we | 7 |
its relation to | 7 |
of the organism | 7 |
to the form | 7 |
translation of the | 7 |
motion of the | 7 |
while in the | 7 |
in what way | 7 |
the strength of | 7 |
of the horn | 7 |
one or the | 7 |
to be more | 7 |
a paper on | 7 |
not wish to | 7 |
of the image | 7 |
of a given | 7 |
the two forms | 7 |
it was the | 7 |
for the more | 7 |
this is true | 7 |
independent of any | 7 |
when it has | 7 |
effect of the | 7 |
height of the | 7 |
we have shown | 7 |
the attainment of | 7 |
account for the | 7 |
other parts of | 7 |
part of his | 7 |
the eye by | 7 |
eye of the | 7 |
of the reader | 7 |
of the physical | 7 |
of the life | 7 |
the error of | 7 |
which it would | 7 |
the downward force | 7 |
it as an | 7 |
movements of the | 7 |
of the relations | 7 |
the reason for | 7 |
embodied in the | 7 |
and as it | 7 |
of real life | 7 |
distinct from the | 7 |
at all events | 7 |
the suggestion of | 7 |
these are the | 7 |
recognition of the | 7 |
to all the | 7 |
for those who | 7 |
and to be | 7 |
the law of | 7 |
to see the | 7 |
time to time | 7 |
to the true | 7 |
experience of the | 7 |
a poem is | 7 |
to the end | 7 |
the product of | 7 |
from what has | 7 |
from which the | 7 |
according to its | 7 |
existence of the | 7 |
of the last | 7 |
one of our | 7 |
if we are | 7 |
an illustration of | 7 |
as distinguished from | 7 |
to its own | 7 |
has the same | 7 |
that the content | 7 |
in contact with | 7 |
a great deal | 7 |
should not have | 7 |
as the result | 7 |
which it was | 7 |
is at the | 7 |
is the expression | 7 |
of all other | 7 |
that the mountain | 7 |
them in the | 7 |
to the most | 7 |
and transfer of | 7 |
is but a | 7 |
which must be | 7 |
of the total | 7 |
were to be | 7 |
a question of | 7 |
in common with | 7 |
sake of the | 7 |
long as we | 7 |
activities of the | 7 |
of the relation | 7 |
us with the | 7 |
beauty of nature | 7 |
it not for | 7 |
there are certain | 7 |
the poet has | 7 |
i have said | 7 |
the body and | 7 |
of the critic | 7 |
of the complex | 7 |
the loss of | 7 |
nature and of | 7 |
the same manner | 7 |
parts of a | 7 |
is a question | 7 |
he is not | 7 |
of aesthetic appreciation | 7 |
with the same | 7 |
the sixteenth century | 7 |
the intuition of | 7 |
the eye in | 7 |
must be made | 7 |
and breadth of | 7 |
of a story | 7 |
the physical fact | 7 |
interfere with the | 7 |
of the gods | 7 |
a knowledge of | 7 |
harmony and balance | 7 |
the explanation of | 7 |
art has been | 7 |
of the good | 7 |
all the arts | 7 |
the objects represented | 7 |
grace and beauty | 7 |
apart from the | 7 |
even to the | 7 |
the author of | 7 |
beauty and grace | 7 |
that we do | 7 |
in a paper | 7 |
be proper to | 7 |
same sort of | 7 |
subject to the | 6 |
principle of the | 6 |
when the artist | 6 |
and let us | 6 |
but that is | 6 |
we are in | 6 |
be divided into | 6 |
man of taste | 6 |
rise to the | 6 |
even when we | 6 |
occupied with the | 6 |
but for the | 6 |
been looked upon | 6 |
things which are | 6 |
nothing but a | 6 |
of his work | 6 |
is not necessary | 6 |
of the simple | 6 |
to recognize that | 6 |
in the thought | 6 |
it is of | 6 |
line of the | 6 |
what can be | 6 |
hands of the | 6 |
search for the | 6 |
history of the | 6 |
to define the | 6 |
i have called | 6 |
the title of | 6 |
of the child | 6 |
judgment of the | 6 |
has come to | 6 |
let us now | 6 |
to face with | 6 |
in a general | 6 |
problem of evil | 6 |
of serpentine lines | 6 |
to be able | 6 |
capable of being | 6 |
or as a | 6 |
the work is | 6 |
take the place | 6 |
the university of | 6 |
in a novel | 6 |
one of those | 6 |
the former is | 6 |
beauty of line | 6 |
only to the | 6 |
back into the | 6 |
by the artist | 6 |
separated from the | 6 |
and the moral | 6 |
and when it | 6 |
the world to | 6 |
pass from the | 6 |
the psychology of | 6 |
sweep of the | 6 |
of the heart | 6 |
sphere of the | 6 |
technique of the | 6 |
only a few | 6 |
that one of | 6 |
the feelings of | 6 |
and so far | 6 |
of evil in | 6 |
to make them | 6 |
the kind of | 6 |
the scale of | 6 |
she could not | 6 |
to us the | 6 |
to him who | 6 |
account of the | 6 |
thought and feeling | 6 |
critique of pure | 6 |
the failure to | 6 |
a process of | 6 |
our own lives | 6 |
the need for | 6 |
aesthetic or artistic | 6 |
the man on | 6 |
the feeling tone | 6 |
a word is | 6 |
is there a | 6 |
amounts to saying | 6 |
is a language | 6 |
enough to be | 6 |
that the beautiful | 6 |
to write a | 6 |
this means that | 6 |
production of the | 6 |
ourselves in the | 6 |
altogether different from | 6 |
and the drama | 6 |
this mode of | 6 |
has been done | 6 |
to the human | 6 |
necessary to the | 6 |
the body in | 6 |
this it is | 6 |
the latter is | 6 |
is more than | 6 |
of language and | 6 |
so to speak | 6 |
the whole is | 6 |
neither beautiful nor | 6 |
must of necessity | 6 |
page of the | 6 |
so that we | 6 |
the satisfaction of | 6 |
we are to | 6 |
of music in | 6 |
it must also | 6 |
the storage and | 6 |
of the dance | 6 |
of the problems | 6 |
on the canvas | 6 |
of the persons | 6 |
perceptive and empathic | 6 |
it is now | 6 |
beauty of a | 6 |
thinking away from | 6 |
a good style | 6 |
the effect is | 6 |
appear in the | 6 |
order to make | 6 |
which it may | 6 |
application of the | 6 |
has been made | 6 |
at a loss | 6 |
here it is | 6 |
prose and poetry | 6 |
a collection of | 6 |
look at a | 6 |
those which are | 6 |
that it has | 6 |
a mode of | 6 |
the words and | 6 |
to consist of | 6 |
expression of life | 6 |
may seem to | 6 |
face to face | 6 |
parallel to the | 6 |
the painting of | 6 |
world of the | 6 |
of beauty is | 6 |
dwell upon the | 6 |
this amounts to | 6 |
has ever been | 6 |
the fulfillment of | 6 |
the sum of | 6 |
first of these | 6 |
by the help | 6 |
not merely to | 6 |
of lines is | 6 |
between the useful | 6 |
we want to | 6 |
beautiful in nature | 6 |
the utmost beauty | 6 |
judgments of value | 6 |
nature and the | 6 |
in the manner | 6 |
end of art | 6 |
the theoretic and | 6 |
depends largely upon | 6 |
of a poem | 6 |
and i will | 6 |
but there are | 6 |
art is that | 6 |
the technique of | 6 |
is not true | 6 |
of the greek | 6 |
of a line | 6 |
of the middle | 6 |
when this is | 6 |
the assistance of | 6 |
limits of the | 6 |
of art over | 6 |
what sort of | 6 |
as there are | 6 |
of his life | 6 |
which we take | 6 |
and we can | 6 |
the desire of | 6 |
power of a | 6 |
for their own | 6 |
an attitude of | 6 |
at first sight | 6 |
so far from | 6 |
not merely the | 6 |
of unity in | 6 |
even when it | 6 |
same as that | 6 |
of it to | 6 |
life in the | 6 |
tones of the | 6 |
this may be | 6 |
said that the | 6 |
but at the | 6 |
be due to | 6 |
the following of | 6 |
no other than | 6 |
we talk of | 6 |
the artist who | 6 |
that the statue | 6 |
that language is | 6 |
contained in the | 6 |
no less than | 6 |
as a matter | 6 |
it is on | 6 |
do we not | 6 |
energy of the | 6 |
based upon the | 6 |
of the arch | 6 |
expression of a | 6 |
in the memory | 6 |
a thing is | 6 |
has its own | 6 |
in a different | 6 |
leads to the | 6 |
it as the | 6 |
in the industrial | 6 |
history of art | 6 |
element of the | 6 |
the intention of | 6 |
of the race | 6 |
i may be | 6 |
must have a | 6 |
to do this | 6 |
purpose of the | 6 |
which we call | 6 |
of the impressions | 6 |
it were a | 6 |
enables us to | 6 |
a new and | 6 |
of course the | 6 |
downward force is | 6 |
and apart from | 6 |
history of aesthetic | 6 |
it belongs to | 6 |
one part of | 6 |
to a complete | 6 |
in poetry the | 6 |
the most perfect | 6 |
the pursuit of | 6 |
the aesthetics of | 6 |
when there is | 6 |
is due to | 6 |
man or woman | 6 |
and the first | 6 |
if it is | 6 |
must be an | 6 |
the center of | 6 |
this is a | 6 |
states of the | 6 |
the height of | 6 |
the figure of | 6 |
with the concept | 6 |
is given to | 6 |
the attention is | 6 |
be a mere | 6 |
to us as | 6 |
art as a | 6 |
examples of this | 6 |
at other times | 6 |
impression of the | 6 |
quite as much | 6 |
as there is | 6 |
division of the | 6 |
whether it be | 6 |
activity of the | 6 |
be admitted that | 6 |
more complex and | 6 |
but in that | 6 |
is it not | 6 |
is the man | 6 |
because there is | 6 |
nature of aesthetic | 6 |
contact with the | 6 |
to the top | 6 |
no part of | 6 |
but in a | 6 |
for want of | 6 |
of painting is | 6 |
words and phrases | 6 |
have been made | 6 |
or the other | 6 |
there are other | 6 |
is no more | 6 |
to show how | 6 |
themselves to the | 6 |
some sort of | 6 |
it is by | 6 |
than any other | 6 |
the realization of | 6 |
as in painting | 6 |
intuition and the | 6 |
and vice versa | 6 |
conceptions of the | 6 |
on a level | 6 |
top of the | 6 |
or by the | 6 |
the evolution of | 6 |
second half of | 6 |
and from this | 6 |
was aware of | 6 |
what we are | 6 |
theory of artistic | 6 |
this is to | 6 |
art must be | 6 |
as distinct from | 6 |
reaction of the | 6 |
an idea of | 6 |
in respect of | 6 |
the conditions of | 6 |
the industrial arts | 6 |
corresponding to the | 6 |
what has already | 6 |
of the non | 6 |
help of the | 6 |
contrast between the | 6 |
for the human | 6 |
matter of fact | 6 |
of what the | 6 |
is a common | 6 |
be understood by | 6 |
there is but | 6 |
the round arch | 6 |
of the philosophy | 6 |
he will not | 6 |
as if we | 6 |
the individual and | 6 |
is difficult to | 6 |
to account for | 6 |
result of the | 6 |
each of which | 6 |
of what he | 6 |
understanding of the | 6 |
critique of aesthetic | 6 |
idea of a | 6 |
idea of art | 6 |
in its place | 6 |
upon it as | 6 |
to the pleasure | 6 |
art is to | 6 |
take pleasure in | 6 |
each of the | 6 |
as to be | 6 |
and what are | 6 |
at once the | 6 |
beautiful nor ugly | 6 |
not able to | 6 |
of what i | 6 |
is even more | 6 |
is for the | 6 |
of these is | 6 |
is that which | 6 |
at the moment | 6 |
ideas of the | 6 |
as an expression | 6 |
the rising of | 6 |
the lower senses | 6 |
definitions of the | 6 |
in the heart | 6 |
perception of shape | 6 |
the midst of | 6 |
say of a | 6 |
the sensuous medium | 6 |
the logic of | 6 |
according to this | 6 |
just as a | 6 |
if they were | 6 |
as a means | 6 |
to the object | 6 |
faith in the | 6 |
us to the | 6 |
we know that | 6 |
of the music | 6 |
as an element | 6 |
similar to those | 6 |
the solution of | 6 |
as the most | 6 |
of expression is | 6 |
the former are | 6 |
make up for | 6 |
poetry and prose | 6 |
to the study | 6 |
for the other | 6 |
in the total | 6 |
upon the attention | 6 |
the absence of | 6 |
not only are | 6 |
is a good | 6 |
music and the | 6 |
of the present | 6 |
type of unity | 6 |
on its own | 6 |
in the expression | 6 |
in the service | 6 |
of a figure | 6 |
of the absolute | 6 |
philosopher of art | 6 |
of sensibility to | 6 |
the individuality of | 6 |
length of the | 6 |
the student of | 6 |
is embodied in | 6 |
is well known | 6 |
to be understood | 6 |
delight in the | 6 |
the human spirit | 6 |
of a good | 6 |
medium of expression | 6 |
the outline of | 6 |
that part of | 6 |
of the moral | 6 |
the different arts | 6 |
which should be | 6 |
by the word | 6 |
the aesthetic judgment | 6 |
the feeling for | 6 |
to be called | 6 |
an art of | 6 |
none the less | 6 |
with the particular | 6 |
of feeling in | 6 |
to take the | 6 |
is as much | 6 |
of the day | 6 |
have called the | 6 |
different from that | 6 |
between thought and | 6 |
in nature and | 6 |
as to what | 6 |
of art must | 6 |
the ends of | 6 |
on that account | 6 |
do not feel | 6 |
in the epic | 6 |
we speak of | 6 |
the lives of | 6 |
that may be | 6 |
is a mere | 6 |
that of art | 6 |
not only to | 6 |
region of the | 6 |
distinguished from the | 6 |
should be so | 6 |
instance of the | 6 |
not only of | 6 |
from the same | 6 |
importance to the | 6 |
to saying that | 6 |
aspects of a | 6 |
the aesthetic life | 6 |
the reader may | 6 |
line of grace | 6 |
of mystical aesthetic | 6 |
of an object | 6 |
between music and | 6 |
of a different | 6 |
on this subject | 6 |
as to their | 6 |
divisions of the | 6 |
he failed to | 6 |
has also been | 6 |
of the end | 6 |
with which the | 6 |
to the third | 6 |
art and the | 6 |
he must have | 6 |
to the point | 6 |
an instance of | 6 |
method of the | 6 |
the habit of | 6 |
criticism of the | 6 |
must be the | 6 |
it is generally | 6 |
the rhetorical categories | 6 |
a revelation of | 6 |
it would seem | 6 |
same as the | 6 |
to express the | 6 |
of the german | 6 |
will be more | 6 |
reduced to the | 6 |
of the facts | 6 |
that even the | 6 |
not for the | 6 |
to that which | 6 |
a man or | 6 |
to be done | 6 |
of pleasure and | 6 |
but only a | 6 |
is still more | 6 |
is capable of | 6 |
poetry and music | 6 |
the light and | 6 |
become aware of | 6 |
is true of | 6 |
in the field | 6 |
sidenote intuition and | 6 |
of the effects | 6 |
cause and effect | 6 |
he should not | 6 |
as our own | 6 |
in the drama | 6 |
that he has | 6 |
those that are | 6 |
heart of the | 6 |
in the lines | 6 |
the ugly is | 6 |
as we do | 6 |
they seem to | 6 |
themselves to be | 6 |
this kind of | 6 |
upon which the | 6 |
origin of art | 6 |
value of a | 6 |
a study of | 6 |
and the good | 6 |
the effort to | 5 |
and we have | 5 |
and expression in | 5 |
force in the | 5 |
characteristic of art | 5 |
if the reader | 5 |
have not been | 5 |
with respect to | 5 |
rhythm of stress | 5 |
is a fact | 5 |
presence of a | 5 |
from the rest | 5 |
interest in the | 5 |
insight into the | 5 |
literature and art | 5 |
the semblance of | 5 |
movements of lines | 5 |
is the result | 5 |
as much to | 5 |
lights and shades | 5 |
thoughts and feelings | 5 |
we fail to | 5 |
system der aesthetik | 5 |
of aesthetic facts | 5 |
and even when | 5 |
is the truth | 5 |
we say that | 5 |
other than the | 5 |
to feel the | 5 |
but the whole | 5 |
face of the | 5 |
to call the | 5 |
the will is | 5 |
beauty is the | 5 |
to know the | 5 |
it is quite | 5 |
he has a | 5 |
aroused by the | 5 |
with the life | 5 |
as opposed to | 5 |
and dramatic poetry | 5 |
the type of | 5 |
not so much | 5 |
the human figure | 5 |
the novel and | 5 |
a rhythm of | 5 |
are not the | 5 |
in the story | 5 |
the media of | 5 |
the spirit and | 5 |
for the work | 5 |
explanation of the | 5 |
the connexion between | 5 |
to include the | 5 |
size of the | 5 |
in my mind | 5 |
is the beautiful | 5 |
of the shape | 5 |
the next place | 5 |
order that there | 5 |
that the word | 5 |
of art should | 5 |
down to the | 5 |
beginning of the | 5 |
of the pure | 5 |
mood of the | 5 |
forms of knowledge | 5 |
many of the | 5 |
the products of | 5 |
in a story | 5 |
for a better | 5 |
the second half | 5 |
evil in aesthetics | 5 |
they will be | 5 |
philosophy of art | 5 |
of the general | 5 |
is made to | 5 |
but that which | 5 |
of the emotions | 5 |
the things which | 5 |
from the hand | 5 |
perception and empathy | 5 |
although they are | 5 |
could not have | 5 |
and as the | 5 |
far from being | 5 |
so much for | 5 |
and the intellectual | 5 |
the length of | 5 |
balance between the | 5 |
it by the | 5 |
in the object | 5 |
appear to have | 5 |
the warmth of | 5 |
or that the | 5 |
with our own | 5 |
us back to | 5 |
bound up with | 5 |
the tones of | 5 |
value in the | 5 |
because of their | 5 |
is meant to | 5 |
the artist to | 5 |
aesthetic activity is | 5 |
a part in | 5 |
saying that the | 5 |
of the meaning | 5 |
of the romantic | 5 |
the interplay of | 5 |
allows us to | 5 |
which is so | 5 |
the mode of | 5 |
work of a | 5 |
interest in it | 5 |
is in fact | 5 |
the description of | 5 |
rivalry between the | 5 |
are the most | 5 |
art and morality | 5 |
of line in | 5 |
there is also | 5 |
of the limits | 5 |
for which the | 5 |
beautiful and ugly | 5 |
science and philosophy | 5 |
from the life | 5 |
men of letters | 5 |
the color and | 5 |
not because they | 5 |
when applied to | 5 |
critique of judgment | 5 |
degrees of beauty | 5 |
let it be | 5 |
would be able | 5 |
portion of the | 5 |
that they do | 5 |
or from the | 5 |
all the while | 5 |
the mood of | 5 |
adequate to the | 5 |
the peculiarities of | 5 |
us to see | 5 |
picture of a | 5 |
characteristics of art | 5 |
nothing can be | 5 |
in the two | 5 |
been the first | 5 |
and of which | 5 |
that it should | 5 |
discovery of the | 5 |
men of the | 5 |
necessary for the | 5 |
of the landscape | 5 |
of the moment | 5 |
and it will | 5 |
to one of | 5 |
of the sun | 5 |
members of a | 5 |
according to their | 5 |
with the result | 5 |
the artist has | 5 |
the most exquisite | 5 |
standard of taste | 5 |
belief in the | 5 |
we have just | 5 |
on this side | 5 |
contemplation of shapes | 5 |
to the extent | 5 |
of intuitive knowledge | 5 |
make clear the | 5 |
of this theory | 5 |
of the actual | 5 |
its purpose is | 5 |
utmost beauty of | 5 |
reason of the | 5 |
the comic is | 5 |
beautiful and of | 5 |
the complexity of | 5 |
of the purpose | 5 |
the lines are | 5 |
representative of the | 5 |
each of them | 5 |
are the two | 5 |
they did not | 5 |
the life which | 5 |
fulfillment of the | 5 |
is the essence | 5 |
to the right | 5 |
show how the | 5 |
the pages of | 5 |
up to the | 5 |
manner in which | 5 |
the first and | 5 |
same time the | 5 |
given to it | 5 |
between the beautiful | 5 |
we have referred | 5 |
content of the | 5 |
from the failure | 5 |
to the comic | 5 |
proof of the | 5 |
the front of | 5 |
that he who | 5 |
have tried to | 5 |
called natural sciences | 5 |
criterion of progress | 5 |
by such a | 5 |
to show that | 5 |
to the thing | 5 |
beautiful as the | 5 |
would lead to | 5 |
which makes us | 5 |
of the verisimilar | 5 |
by the light | 5 |
it to a | 5 |
the demands of | 5 |
which had been | 5 |
and the lines | 5 |
some degree of | 5 |
of speech and | 5 |
part of its | 5 |
to raise the | 5 |
a rhythm in | 5 |
of what has | 5 |
figure t p | 5 |
which all the | 5 |
but when it | 5 |
of the higher | 5 |
the taste of | 5 |
we attach to | 5 |
of the essence | 5 |
existence in the | 5 |
the one that | 5 |
of a science | 5 |
the ground that | 5 |
employed in the | 5 |
in favor of | 5 |
poetry and of | 5 |
science of expression | 5 |
the dominion of | 5 |
canto of the | 5 |
in art is | 5 |
of spiritual activity | 5 |
the success of | 5 |
art as pure | 5 |
account of their | 5 |
rays of light | 5 |
they see the | 5 |
the novel or | 5 |
the red circumference | 5 |
work of genius | 5 |
if to the | 5 |
he was aware | 5 |
none of these | 5 |
of his thought | 5 |
of any other | 5 |
they have not | 5 |
the energies of | 5 |
from the outside | 5 |
must be admitted | 5 |
matter and form | 5 |
and the great | 5 |
the background of | 5 |
are looking at | 5 |
and must be | 5 |
of an artist | 5 |
to the action | 5 |
in it the | 5 |
in our memory | 5 |
he may be | 5 |
given rise to | 5 |
which did not | 5 |
the possession of | 5 |
the values which | 5 |
upon as the | 5 |
is a simple | 5 |
has not yet | 5 |
the growth of | 5 |
the writers of | 5 |
and that which | 5 |
an attempt to | 5 |
is the unity | 5 |
of these two | 5 |
of a master | 5 |
of this type | 5 |
this part of | 5 |
with the exception | 5 |
venture to say | 5 |
give rise to | 5 |
is really a | 5 |
of the kind | 5 |
novel and drama | 5 |
the whole world | 5 |
to the things | 5 |
what he has | 5 |
is so much | 5 |
the origin and | 5 |
inner life of | 5 |
of the sublime | 5 |
of the materials | 5 |
but in poetry | 5 |
every one of | 5 |
our attention is | 5 |
which the latter | 5 |
with the most | 5 |
a few words | 5 |
out of a | 5 |
and which are | 5 |
of which they | 5 |
action of the | 5 |
the connection between | 5 |
well as that | 5 |
view of art | 5 |
which has not | 5 |
the artist can | 5 |
to the past | 5 |
the sense medium | 5 |
they cannot be | 5 |
and do not | 5 |
and the life | 5 |