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" I ask not for the great, the remote, the romantic ; what is doing in Italy or Arabia; what is Greek art, or Proven9al minstrelsy; I embrace the common, I explore and sit at the feet of the familiar, the low. "
Nature: Addresses, and Lectures - Page 93
by Ralph Waldo Emerson - 1883 - 315 pages
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Anthology of Western Reserve Literature

David Rollin Anderson - 1992 - 312 pages
...great, the remote, the romantic, what is doing in Italy or Arabia; what is Greek art, or Provencal minstrelsy; I embrace the common, I explore and sit at the feet of the familiar, the low." Hawthorne confessed several years later, in The Scarlet Letter, his classic work which focuses on a...
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Popular Culture and Acquisitions

Allen W. Ellis - 1992 - 146 pages
...great, the remote, the romantic; what is doing in Italy or Arabia; what is Greek art, or Provencal Minstrelsy; I embrace the common. I explore and sit...into today, and you may have the antique and future worlds.10 Proponents of popular culture argue that true insight into any era of culture can be gained...
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Keeping Faith: Philosophy and Race in America

Cornel West, Professor Cornel West - 1993 - 319 pages
...great, the remote, the romantic; what is doing in Italy or Arabia; what is Greek art, or Provencal minstrelsy; I embrace the common, I explore and sit...feet of the familiar, the low. Give me insight into day and you may have the antique and future worlds.1 This artistic affirmation of everyday experiences...
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Emerson's Literary Criticism

Ralph Waldo Emerson - 1995 - 252 pages
...experience, so much of the wilderness have I vanquished and planted. . . ." "Life is my dictionary." "Give me insight into to-day, and you may have the antique and future worlds. ..." These and many other such familiar epigrams are eloquent expressions of the practical idealism...
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Charles Ives and His World

J. Burkholder, James Peter Burkholder - 1996 - 452 pages
...great, the remote, the romantic; what is doing in Italy or Arabia; what is Greek art, or Proven├žal minstrelsy; I embrace the common, I explore and sit...would we really know the meaning of? The meal in the firken; the milk in the pan; the ballad in the street; the news of the boat; the glance of the eye;...
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Analysis and Assessment, 1940-1979

Cary D. Wintz - 1996 - 504 pages
...if he seek a temporary peace by the diversion of his thoughts from politics or vexed questions ... I embrace the common, I explore and sit at the feet of the familiar, the low . . . the literature of the poor, the feelings of the child, the philosophy of the street, the meaning...
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Facing Facts: Realism in American Thought and Culture, 1850-1920

David E. Shi - 1996 - 394 pages
...and he enthusiastically sanctioned their efforts: "I ask not for the great, remote, the romantic ... I embrace the common, I explore and sit at the feet of the familiar, the low." This romantic celebration of the actualities of common life, however tentative, vicarious, or celestial,...
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From Emerson to King: Democracy, Race, and the Politics of Protest

Anita Haya Patterson - 1997 - 272 pages
...gesture is one that strategically claims the ordinary domestic world as the fit domain of the poetic: I embrace the common, I explore and sit at the feet of the familiar, the low. Give me insight to-day, and you may have antique and future worlds. What would we really know the meaning of? The meal...
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Contingency Blues: The Search For Foundations In American Criticism

Paul Jay - 1997 - 234 pages
...household life, are the topics of the time ... I ask not for the great, the remote, the romantic ... I embrace the common, I explore and sit at the feet of the familiar, the low (Emerson68-69). 7. This focus on the museum as an institution, and its concrete relation to aesthetic...
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Humor and Revelation in American Literature: The Puritan Connection

Pascal Covici - 1997 - 226 pages
...forgetful that Cicero, Locke, and Bacon were only young men in libraries when they wrote these books" (67). "Give me insight into today, and you may have the antique and future worlds" (78). Note the rapidity of, the shock in, Emerson's sudden juxtapositions. Both parts of them turn...
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