"Naturalistic" Quotes from Famous Books
 ... hesitation that I begin this chapter, because in it I must deal with an experience so contrary to every known law of physics as to seem impossible. Until this time, barring, of course, the mystery of the Dweller, I had encountered nothing that was not susceptible of naturalistic explanation; nothing, in a word, outside the domain of science itself; nothing that I would have felt hesitancy in reciting to my colleagues of the International Association of Science. Amazing, unfamiliar—advanced—as many of the phenomena were, still they lay well within ...
— The Moon Pool • A. Merritt
... College, London, a distinguished physiologist, said: "There is no evidence that man has descended from, or is, or was, in any way specially related to, any other organism in nature, through evolution, or by any other process. In support of all naturalistic conjectures concerning man's origin, there is not, at this time, ...
— The Evolution Of Man Scientifically Disproved • William A. Williams
... cornices and pyramidal roofs, like many Asiatic tombs. The openings of the rock-cut tombs have frames or pediments carved with rich surface ornament showing a similar mixture of types—Roman triglyphs and garlands, Syrian-Greek acanthus leaves, conventional foliage of Byzantine character, and naturalistic carvings of grapes and local plant-life. The carved arches of two of the ancient city gates (one the so-called Golden Gate) in Jerusalem display rich acanthus foliage somewhat like that of the tombs, ...
— A Text-Book of the History of Architecture - Seventh Edition, revised • Alfred D. F. Hamlin
... the lagunes of Venice to the frontier of Bohemia and the castle of Rudolstadt, the character of the story becomes less naturalistic; the storyteller loses herself somewhat in subterranean passages and the mazes of adventure generally. She wrote on, she acknowledges, at hap-hazard, tempted and led away by the new horizons which the artistic and historical researches her work required kept opening to her view. But the powerful ...
— Famous Women: George Sand • Bertha Thomas
... the same with their pictorial art. We blame the Orientals for their chill cult of geometric designs, their purely stylistic decoration, their endless repetitions, as opposed to our variety and love of floral, human, or other naturalistic motives. But by this simple means they attain their end—a direct appeal. Their art, like their music, goes straight to the senses; it is not deflected or disturbed by any intervening medium. Colour plays its part; the sombre, ...
— South Wind • Norman Douglas
... Rosa Raisa stands for a compelling force. In whatever role she appears, she is always a commanding figure, both physically, dramatically and musically. Her feeling for dramatic climax, the intensity with which she projects each character assumed, the sincerity and self forgetfulness of her naturalistic interpretation, make every role notable. Her voice is a rich, powerful soprano, vibrantly sweet when at its softest—like a rushing torrent of passion in intense moments. At such moments the listener is impressed with the belief ...
— Vocal Mastery - Talks with Master Singers and Teachers • Harriette Brower
... among us in the first half of the eighteenth century, was replaced by a strong supernaturalistic reaction, which submerged the work of the free-thinkers; and even seemed, for a time, to have arrested the naturalistic movement of which that work was an imperfect indication. Yet, like Lollardry, four centuries earlier, free-thought merely took to running underground, safe, sooner or later, to return ...
— Lectures and Essays • Thomas Henry Huxley
... for certain natural purposes; that is your philosophical or zooelogical theory about it. What it is, beyond all doubt of any kind, is a divine and sacred and incredible vision." The fact that it is an animal necessity only comes to the naturalistic philosopher after looking abroad, studying its origins and results, constructing an explanation of its existence, more or less natural and conclusive. The fact that it is a spiritual triumph comes to the first errand boy who happens to feel it. If a lad of ...
— Varied Types • G. K. Chesterton
... the Zola novel, yet the work seems clumsy after Goncourt's Manette Salomon, that breviary for painters which so far back as 1867 anticipated—in print, of course—the discoveries, the experiments, the practice of the naturalistic-impressionistic groups from Courbet to Cezanne, Monet to Maufra, Manet to Paul Gauguin. There are verbal pictures of student life, of salons, of atelier and open air. No such psychologic manual of the painter's art has ever appeared before or since Manette Salomon. It was the Goncourts who introduced ...
— Promenades of an Impressionist • James Huneker
... the end of the poem, and there can be no doubt that the pathetic language in which it is couched came straight from the young poet's own heart. We even fancy that Shelley's influence is visible in the poem itself, which contains a profusion of natural imagery, and some touches of naturalistic emotion, not at all in keeping with Mr. Browning's picturesque, but habitually human genius. The influence, if it existed, passed away with his earliest youth; not so the admiration and sympathy which it implied; and this, considering the wide difference which separated ...
— A Handbook to the Works of Browning (6th ed.) • Mrs. Sutherland Orr
... of life be reduced to the terms of unrequited labor and all be made right if each person performed the amount necessary to satisfy his own wants? Was it not always easy to put up a strong case if one took the naturalistic view of life? But what about the historic view, the inevitable shadings and modifications which life itself brings to its own interpretation? Miss Smith and I took a night train back to Moscow in that tumult of feeling which is always ...
— Twenty Years At Hull House • Jane Addams
... In neither the naturalistic school of fiction, nor the psychological, in so far as the latter is represented by Bourget, has Balzac's influence been a gain. Bourget has borrowed Balzac's furniture, his pompous didacticism, his occasional indecency—in fine, all that is least essential in the elder's assets, without learning ...
— Balzac • Frederick Lawton
... Milton's grandeur, abounds in frigid conceits, from which the two later pieces are free. The Ode is frosty, as written in winter within the four walls of a college-chamber. The two idyls breathe the free air of spring and summer and of the fields around Horton. They are thoroughly naturalistic; the choicest expression our language has yet found of the first charm of country life, not as that life is lived by the peasant, but as it is felt by a young and lettered student, issuing at early dawn or at sunset into the fields from his chamber and his books. ...
— Lectures and Essays • Goldwin Smith
... sentimentality, it is more inspiring than in any other, except perhaps George Meredith. Meredith too is without sentimentality; but he has more of hardness, shall I say? in his general outlook—more of the inclination to dwell on scientific or naturalistic analogies with human experience. In Browning the "peculiar grace" is his passion for humanity as humanity. It gives him but moderate joy to trace those analogies; certainly they exist (he seems to say), but let us take them for granted—let us examine man as a separate ...
— Browning's Heroines • Ethel Colburn Mayne
... essayist draws gradually back into a department of his own; the new school reflects, as is natural, the general tendency of English literature toward a livelier and more varied movement, with a wider range of subjects and sympathies. In his letters, as in his poetry, the precursor of the Naturalistic school was Cowper, who could be simple without being trivial, was never prosy and often pathetic, and who possessed the rare art of stamping on his reader's mind an enduring impression of quiet and somewhat commonplace society in the English ...
— Studies in Literature and History • Sir Alfred Comyn Lyall
... tended to be lost to sight in the naturalistic revival of the Renaissance, which derived its inspiration solely from those periods of Greek and Roman art which were pre-occupied with the expression of external reality. Although the all-embracing genius of Michelangelo kept the "Symbolist" tradition alive, it is the work of El Greco ...
— Concerning the Spiritual in Art • Wassily Kandinsky |
