 | Paul Milton Fulcher - 1927 - 336 pages
...fact that his own individuality ought to be steadfastly preserved. As Emerson says in continuation, "Great works of art have no more '" affecting lesson for us than this. They teach us to abide by our spontaneous impressions with goodhumoured inflexibility, then most when the whole cry of voices is... | |
 | Charles T. Sprading - 1913 - 550 pages
...thought, because it is his. In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty. Great...lesson for us than this. They teach us to abide by our spontaneous impression with good humored inflexibility the most when the whole cry of voices is on... | |
 | Ralph Waldo Emerson - 1979 - 434 pages
...thought, because it is his. In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty. Great...lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on... | |
 | Ralph Waldo Emerson - 1983 - 1196 pages
...thought, because it is his. In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty. Great...lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on... | |
 | Thomas J. Scheff - 1990 - 231 pages
...we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. [4| Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on... | |
 | Timothy Gould - 1998 - 253 pages
...Emerson is trying to instill: In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great...lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on... | |
 | Jerrold Levinson - 1998 - 344 pages
...But, as Emerson claims, "In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty. Great...works of art have no more affecting lesson for us than this."34 Art's capacity to keep alive certain moral perspectives, even if these views diverge radically... | |
 | Timothy Gould - 1998 - 253 pages
...majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility...when the whole cry of voices is on the other side. As with Cavell's allegories of the work of the text as a function of the voice, Emerson's remarks are... | |
 | Charles B. Guignon - 1999 - 350 pages
...thought, because it is his. In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great...lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on... | |
 | Diane Ravitch - 2000 - 662 pages
...thought, because it is his. In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great...lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on... | |
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In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored... 
