In an essay entitled ‘The Poet’, published in 1844, the American writer Ralph Waldo Emerson lamented the narrow definition of beauty subscribed to by his peers, who tended to reserve the term exclusively for the bucolic landscapes and unspoilt pastoral scenes celebrated in the works of well-known artists and poets of the past. Emerson himself, however, writing at the dawn of the industrial age, observing with interest the proliferation of railways, warehouses, canals and factories, wished to make room for the possibility of alternative forms of beauty. He contrasted the nostalgic devotees of old-fashioned poetry with those whom he judged to be true contemporary poetic spirits, deserving of the title less by virtue of anything they had actually written than for their willingness to approach the world without prejudice or partiality. The former camp, he averred, ‘see the factory-village and the railway, and fancy that the beauty of the landscape is broken up by these, for they are not yet consecrated in their reading. But the true poet sees them fall within the great order of nature not less than the beehive or the spider’s geometrical web.
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p. 216Alain de Botton
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The most natural Beauty in the World is Honesty, and Moral Truth. For all Beauty is Truth. True Features make the Beauty of a Face; and true Proportions the Beauty of Architecture; as true Measures that of Harmony and Musick.
Anthony Ashley-Cooper
The German landscape is something unique that we cannot disturb and have no right to destroy. The more densely populated our 'living space' becomes with settlements, the greater our hunger will grow for unspoilt nature. The ever increasing spiritual damage caused by life within the big city will make this hunger practically uncontrollable... when we build here on this the landscape of our homeland we must be clear that we will protect its beauty; and in places where this beauty has already disappeared, we will reconstruct it.
Fritz Todt
I think we must see this very clearly right at the beginning — that if one would solve the everyday problems of existence, whatever they may be, one must first see the wider issues and then come to the detail. After all, the great painter, the great poet is one who sees the whole — who sees all the heavens, the blue skies, the radiant sunset, the tree, the fleeting bird — all at one glance; with one sweep he sees the whole thing. With the artist, the poet, there is an immediate, a direct communion with this whole marvellous world of beauty. Then he begins to paint, to write, to sculpt; he works it out in detail. If you and I could do the same, then we should be able to approach our problems — however contradictory, however conflicting, however disturbing — much more liberally, more wisely, with greater depth and colour, feeling. This is not mere romantic verbalization but actually it is so, and that is what I would like to talk about now and every time we get together. We must capture the whole and not be carried away by the detail, however pressing, immediate, anxious it may be. I think that is where the revolution begins.
Jiddu Krishnamurti
"To the virtue of temperance as the preserving and defending realization of man's inner order, the gift of beauty is particularly co-ordinated. Not only is temperance beautiful in itself, it also renders men beautiful. Beauty, however, must here be understood in its original meaning: as the glow of the true and the good irradiating from every ordered state of being, and not in the patent significance of immediate sensual appeal. The beauty of temperance has a more spiritual, more austere, more virile aspect. It is of the essence of this beauty that it does not conflict with true virility, but rather has an affinity to it. Temperance, as the wellspring and premise of fortitude, is the virtue of mature manliness.
The infantile disorder of intemperance, on the other hand, not only destroys beauty, it also makes man cowardly; intemperance more than any other thing renders man unable and unwilling to 'take heart' against the wounding power of evil in the world"Josef Pieper
Oh, can I really believe the poet's tales, that when one first sees the object of one's love, one imagines one has seen her long ago, that all love like all knowledge is remembrance, that love too has its prophecies in the individual. ... it seems to me that I should have to possess the beauty of all girls in order to draw out a beauty equal to yours; that I should have to circumnavigate the world in order to find the place I lack and which the deepest mystery of my whole being points towards, and at the next moment you are so near to me, filling my spirit so powerfully that I am transfigured for myself, and feel that it's good to be here.
Soren Aabye Kierkegaard
de Botton, Alain
de Cleyre, Voltairine
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