Ruskin : John (1819-1900), English author & critic who championed Gothic Revival in architecture & decorative arts & influenced public taste in art in Victorian England.
... And to deem them not all in all is hardly to hold a brief for art for art's sake in a narrow barren sense. The art-critic who found fault with Nehru's doctrine and cited Tolstoy, Emerson, Ruskin and Morris on his own behalf sought to justify the artist's drawing inspiration from within himself, from his own profound emotions and personal ideals and individual heights rather than from p... all he would scarcely try to defend his theory with the help of the greatest champions in the nineteenth century of the theory actually being put forward by Nehru! The names of Tolstoy, Emerson, Ruskin and Morris cannot be used for upholding entirely the Marxist view Page 46 of art. Surely, these men were purposeful and had the good of society at large in mind: they were... action lay in the divine infinity hidden behind phenomena. Besides, he was a pugnacious individualist vis à vis average social conventions and the rating of common human collectivities as paramount. Ruskin also was surcharged with a conviction of the Infinite and the Eternal—art to him was most valuable when through natural objects it had suggestions of them, open or subtle. Morris followed Karl Marx ...
... full height and power of what the intellect of the race could then think out or create in the light of the inheritance of our ages. A small number of writers—in the English language Emerson, Carlyle, Ruskin are the best known among these names,—build for us a bridge of transition from the intellectual transcendentalism of the earlier nineteenth century across a subsequent low-lying scientific, utilitarian ...
... in shades and wander with the dead? How could thy soul, by realms and seas disjoined, Outfly the nimble sail and leave the lagging wind? Ruskin, disgusted with the falseness of such poetry, has shown in contrast the exquisite sincerity of a line of Keats's which, though with a slight Romantic touch in the style ...
... marked transition-link — compact stepping-stones set at difficult distances for a series of leaps from author to reader. Such a style may not prove everybody's delight — at least it did not please Ruskin when Browning indulged in it; yet to reject it just because it is wanting in effect shading off into effect is to take too facilely the intuitive faculty in us on which the poetic moment always impinges ...
... Overhead Poetry and elsewhere in his early writings. But there had been that rhythmic Aurobindonian efflux everywhere, a touch of the classic Victorian which had once come out through the pen of Ruskin and Newman, a style which had reached its culmination in Sri Aurobindo. Sethna knows how to curb his inspired efflux, how to combine revelation and argument, •how to subdue as much as possible the ...
... is the natural way to enhance freedom of each individual and promote general welfare. These assumptions, which lie at the root of competitive economics, were greatly attacked by thinkers like Ruskin and others. Later on, they were combated by Marxism, and they have also been criticised by those who advocate the combination of freedom and justice, freedom and equity, and freedom and equality. ...
... the impoverishment of a people has nothing to do with the cost of Government in their country. A Government may be a veritable leech but that is no reason why the people should be poor. The spirit of Ruskin is perhaps trembling in his place in heaven at this latest discovery of the orthodox school of economists. However close to the skin the shears may be applied, the lamb should not bleat. Heavy taxes ...
... difference arises from the different kind of mentality required by the two arts. The material in which we work makes its own peculiar demand on the creative spirit, lays down its own natural conditions, as Ruskin has pointed out in a different connection, and the art of making in stone or bronze calls for a cast of mind which the ancients had and the moderns have not or have had only in rare individuals, an ...
... The Poetic Genius of Sri Aurobindo I SRI AUROBINDO'S BLANK-VERSE INSPIRATION Ruskin could not follow Browning's bold leap from crag to distant crag of poetic thought, even as Arnold "came a cropper" with the sky-arches of Shelley's iridescent imagination. Francis Jeffrey, before them, had uttered his notorious verdict ...
... g his prose when aiming at pathos: sentence after sentence in the description of Little Nell's death is iambic blank verse not cut up in lines, and to the true artist ear the passages are jarring. Ruskin also indulges in the same device now and again: he jars less because his vision is poetic and his words too have a poetic turn. Still, his metricised prose in the midst of genuine prose writing is ...
... , it bore with a scornful complacency or bewildered anger or a listening ear of impervious indulgence the lightning shafts of Arnold's irony, the turbid fulminations of Carlyle, the fiery raids of Ruskin or saw unaffected others of its fine or great spirits turn for refuge to mediaevalism or socialistic utopias. The work of these forerunners was done in a wilderness of intellectual commonness and busy ...
... may be struck by this plasticity in the diverse styles English literature teems with - the individual element at almost riotous play as between author and author (Sir Thomas Browne, Addison, Gibbon, Ruskin, Carlyle, Meredith, Arnold, Chesterton, Shaw, etc.) with no persistent tradition of writing as, for instance, in France for both prose and poetry until very recent times when a rebellious 'modernism' ...
... followers of Tolstoy. You know Gandhi is greatly influenced by Tolstoy and follows his view of art, the puritanic and popular view. SRI AUROBINDO: That puritanic element exists in many places. Even Ruskin who was considered an authority on the aesthetic element in art had puritanism in his blood. Puritanism has been brought from Europe to India. In India even ascetics were not puritans. PURANI: ...
... and over-statement always bring in falsity. Who would think of censuring out of hand a prose style like Sir Thomas Browne's, Jeremy Taylor's, Donne's, Gibbon's, De Quincy's, Landor's, Car-lyle's, Ruskin's, Meredith's, Henry James's, Chesterton's, Charles Morgan's, Sir Winston Churchill's? These very names — three of them contemporary — should make one hesitate also to declare that the typically ...
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