trigram

This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

trigram	frequency
work of art	158
as well as	120
in order to	119
on the other	110
that is to	106
is to say	101
so far as	100
of the beautiful	95
the beauty of	91
there is no	90
works of art	89
the other hand	87
one of the	86
it is not	85
and of the	82
a work of	81
there is a	80
the work of	79
in so far	75
of the aesthetic	73
it is a	71
at the same	68
in the same	67
part of the	66
the same time	66
as it is	66
that of the	66
of the spirit	65
the expression of	65
it is the	64
the theory of	63
we do not	60
point of view	60
more or less	58
by means of	58
of the body	58
is to be	57
of art is	56
which is the	56
the nature of	55
as in the	55
the fact that	53
the aesthetic fact	51
of the soul	49
as we have	49
critique of the	48
of the same	47
as to the	47
in the mind	47
out of the	47
of the artist	46
it may be	46
that it is	45
the idea of	45
which we have	45
but it is	44
and it is	43
is not a	43
it would be	41
it has been	40
the case of	40
on the contrary	40
to be a	40
in the case	40
the art of	39
the unity of	38
sidenote critique of	38
it will be	38
the existence of	38
the history of	38
the life of	37
the sense of	37
it must be	37
of the whole	37
this is the	37
the end of	37
because it is	37
the science of	36
the form of	36
to be the	36
as it were	36
far as it	36
some of the	35
of the most	35
of the mind	35
of the word	35
and in the	35
they are not	35
theory of the	34
it does not	34
of art and	34
is not the	34
of the human	34
which it is	33
of the individual	33
expression of the	33
use of the	33
the purpose of	33
in the first	32
the world of	32
the use of	32
the works of	32
form of the	32
the possibility of	32
color and line	32
to the eye	32
we have already	32
the point of	31
to be found	31
and so on	31
beauty of the	30
it is necessary	30
when it is	30
of our own	30
or of the	30
in respect to	30
of the object	30
if it be	30
of what is	30
be able to	29
of the arts	29
the sake of	29
what has been	29
the spirit of	29
with regard to	29
for the sake	29
no matter how	28
those of the	28
the thought of	28
the whole of	28
the representation of	28
the natural sciences	28
with reference to	28
in which the	28
he does not	27
the character of	27
the value of	27
that which is	27
artistic and literary	27
and the other	26
in order that	26
the problem of	26
according to the	26
the meaning of	26
idea of the	26
it is impossible	26
the power of	26
the aesthetic of	26
the study of	26
of the two	26
the philosophy of	25
even in the	25
the human body	25
as they are	25
painting and sculpture	25
so long as	25
be found in	25
the aesthetic experience	25
in the world	25
a part of	25
is necessary to	25
that there is	25
in the sense	25
because they are	24
unity of the	24
they do not	24
to be sure	24
the principle of	24
this or that	24
and that the	24
the place of	24
of all the	24
a kind of	24
of the best	24
to that of	24
may be said	24
a sort of	24
which may be	23
would be a	23
the pleasure of	23
of the other	23
is one of	23
in the imagination	23
far as they	23
of the imagination	23
there must be	23
of the work	23
seem to be	23
something of the	23
end of the	23
the perception of	23
the difference between	23
of the world	22
of art as	22
a series of	22
it is in	22
that of a	22
there may be	22
is the most	22
what we call	22
in the aesthetic	22
which is a	22
as that of	22
lines of the	22
the concept of	22
it is to	22
in like manner	22
but in the	22
the same way	22
the elements of	22
what is the	22
of which the	22
in this case	22
the beautiful is	21
of the past	21
looked upon as	21
the beautiful and	21
the method of	21
found in the	21
are to be	21
to have been	21
of a man	21
parts of the	21
the relation of	21
that art is	21
on account of	21
in the other	21
of view of	21
well as the	21
as much as	21
of his own	21
there can be	21
the feeling of	21
when they are	21
as regards the	21
the line of	20
the first place	20
of the idea	20
forms of the	20
not to be	20
the light of	20
of the theory	20
for it is	20
the essence of	20
knowledge of the	20
the quality of	20
is in the	20
it cannot be	20
the eighteenth century	20
of the medium	20
is impossible to	20
of the parts	20
which we are	20
the aesthetic activity	20
of the ugly	20
of the man	20
to the whole	20
of a building	20
the same thing	19
image of the	19
the activity of	19
be made to	19
as i have	19
pleasure in the	19
and to the	19
i do not	19
meaning of the	19
study of the	19
space and time	19
to say that	19
the distinction between	19
it is an	19
with that of	19
the name of	19
in terms of	19
nature of the	19
of the practical	19
the development of	19
of the latter	19
the practical activity	19
character of the	19
the result of	19
which they are	19
of art are	19
belong to the	19
with one another	18
and at the	18
purpose of art	18
they may be	18
the origin of	18
at the end	18
the process of	18
that they are	18
the word beautiful	18
the sphere of	18
as those of	18
art is a	18
an expression of	18
that he is	18
which is not	18
sense of the	18
of works of	18
the presence of	18
which can be	18
representation of the	18
it in the	18
the parts of	18
the man of	18
a matter of	18
the same as	18
in such a	18
to which the	18
to the same	18
view of the	18
aesthetic of the	17
the eye is	17
conception of the	17
if it were	17
difference between the	17
it is only	17
philosophy of the	17
it is clear	17
the cause of	17
of nature and	17
on the one	17
it to be	17
by no means	17
there is nothing	17
of the poet	17
colors and lines	17
in the most	17
it is this	17
of the great	17
that can be	17
of this kind	17
of which it	17
we have seen	17
of the eye	17
for this reason	17
is that of	17
but there is	17
such as the	17
of the first	17
the production of	16
respect to the	16
and this is	16
is not so	16
to the beautiful	16
the course of	16
to be an	16
what we have	16
it is also	16
and the like	16
attention to the	16
of the artistic	16
is no longer	16
to do with	16
is of the	16
of the face	16
the most important	16
ought to be	16
as a whole	16
light and shade	16
would not have	16
for the same	16
the movement of	16
in our own	16
a piece of	16
is the same	16
with the other	16
the principles of	16
of the natural	16
the application of	16
the lines of	16
at any rate	16
the experience of	16
the object of	16
the limits of	16
be said to	16
the attempt to	16
to the mind	16
of a work	16
said to be	16
the truth of	16
theory of aesthetic	16
in comparison with	15
the basis of	15
the one hand	15
seem to have	15
form and content	15
it is true	15
the conception of	15
to each other	15
of the inner	15
of human life	15
can only be	15
of the picture	15
as has been	15
of light and	15
we shall see	15
of which we	15
part of a	15
and for the	15
art is the	15
in which it	15
by the same	15
has already been	15
one of these	15
he did not	15
of the words	15
there is an	15
the function of	15
of the beauty	15
would have been	15
the artist is	15
beauty in the	15
all the other	15
those who have	15
that it was	15
the love of	15
and literary history	15
of the head	15
and with the	15
may not be	15
which has been	15
in the middle	15
this does not	14
would not be	14
the first of	14
in all the	14
than in the	14
of the comic	14
the number of	14
more and more	14
and the more	14
the forms of	14
of the three	14
we not only	14
as is the	14
an element of	14
from that of	14
of art in	14
not in the	14
the help of	14
of which is	14
the inner life	14
life of the	14
a man of	14
in the whole	14
to which we	14
between the two	14
for the most	14
of the one	14
of such a	14
spirit of art	14
of the real	14
to the other	14
we are not	14
as it may	14
in other words	14
in the course	14
at the most	14
is not only	14
has been said	14
of poetry and	14
of the concept	14
the creation of	14
imitation of nature	14
is not to	14
of the different	14
it to the	14
the shape of	14
of the sympathetic	14
to make the	14
of this is	14
movement of the	14
belongs to the	14
is the case	14
there is in	14
seems to be	14
of form and	14
in proportion as	14
in which they	14
and all the	14
the influence of	14
the contemplation of	14
would be the	14
for the first	14
distinction between the	14
in accordance with	14
any of the	14
should not be	14
of space and	14
the first time	14
we should not	13
of the problem	13
but to the	13
an image of	13
of the various	13
in the latter	13
to make a	13
as we know	13
means of the	13
the effect of	13
at the beginning	13
of the renaissance	13
in addition to	13
movement of lines	13
can be no	13
lines of a	13
could not be	13
of the art	13
as we shall	13
of the lines	13
are capable of	13
the image of	13
perception of the	13
what is called	13
expression in the	13
side of the	13
may be called	13
that is the	13
and the beautiful	13
existence of a	13
by which we	13
in the work	13
of the muscles	13
we come to	13
and when the	13
that in the	13
the impression of	13
will be found	13
of artistic and	13
is not an	13
made use of	13
that we have	13
of the second	13
arising from the	13
in that case	13
elements of the	13
of the thought	13
any more than	13
in this way	13
the critique of	13
unity in variety	13
value of art	13
which is called	13
it be not	13
so that the	13
depends upon the	13
to speak of	13
and there is	13
of the form	13
back to the	13
state of the	13
is the first	13
work of the	13
is at once	13
science of the	13
of its own	13
which we can	13
there is the	13
and by the	13
so as to	13
more than a	13
the domain of	13
the surface of	13
of color and	13
of a certain	13
the qualities of	13
the impossibility of	13
the body is	13
shape of the	13
in this sense	13
to the aesthetic	13
of the more	13
theory of art	12
together with the	12
what it is	12
just as the	12
of the former	12
is also a	12
the relation between	12
of the senses	12
the human form	12
or to the	12
in the form	12
will not be	12
the middle age	12
does not exist	12
form of knowledge	12
in his own	12
the best of	12
problem of the	12
the doctrine of	12
in what manner	12
to explain the	12
might have been	12
much of the	12
the nineteenth century	12
as may be	12
this is not	12
nature of art	12
must be a	12
made by the	12
in the second	12
quality of the	12
of the expression	12
and if we	12
the subject of	12
pleasure and pain	12
in the last	12
one and the	12
it will not	12
between art and	12
as for the	12
the reproduction of	12
as we are	12
of thought and	12
the man who	12
sensibility to the	12
qualities of the	12
the knowledge of	12
in painting and	12
we look at	12
we must not	12
as in a	12
of the objects	12
them in a	12
the criticism of	12
and on the	12
of those who	12
same way as	12
the same kind	12
the expressiveness of	12
due to the	12
more than the	12
the language of	12
not of the	12
is clear that	12
the judgment of	12
of the greatest	12
to what is	12
the desire to	12
and that of	12
in the one	12
order to be	12
it is evident	12
the other arts	12
to the more	12
it should be	12
the one is	12
half of the	12
as to make	12
art is not	12
be called the	12
owing to the	12
fact that the	12
they must be	12
are not only	12
nothing to do	12
away from the	12
the reader to	11
as much of	11
piece of music	11
the true nature	11
of a picture	11
to the artist	11
of the subject	11
said to have	11
not have been	11
the ideas of	11
as compared with	11
there are no	11
they are in	11
light of the	11
definition of the	11
he would have	11
as if it	11
any one of	11
the search for	11
art and science	11
place of the	11
the question of	11
regard to the	11
for the expression	11
the rest of	11
where it is	11
the colors and	11
form of a	11
return to the	11
the mind of	11
of the nature	11
the hands of	11
the appreciation of	11
or at least	11
with the eye	11
beautiful and the	11
enter into the	11
seems to have	11
the laws of	11
instead of being	11
does not belong	11
we get the	11
may be seen	11
they are the	11
even when the	11
analysis of the	11
of art to	11
what may be	11
we have a	11
man of science	11
of a thing	11
were it not	11
it is possible	11
parts of speech	11
men and women	11
in his mind	11
is said to	11
the case with	11
may be a	11
has not been	11
that the artist	11
the beauties of	11
be looked upon	11
in the very	11
reference to the	11
the characteristics of	11
most of the	11
connected with the	11
of the elements	11
which the artist	11
in the former	11
in its turn	11
in which he	11
doctrine of the	11
the top of	11
we find the	11
line of beauty	11
of the ideal	11
the most part	11
something more than	11
be said of	11
in a manner	11
of a single	11
held to be	11
the universality of	11
make use of	11
as far as	11
the mind to	11
true nature of	11
for there is	11
not belong to	11
contemplation of the	11
which we shall	11
not only the	11
of the original	11
which does not	11
compared with the	11
each one of	11
the degree of	11
the one and	11
of a word	11
the direction of	11
to those of	11
the purposes of	11
from the point	11
we think of	11
that is not	11
with those of	10
can never be	10
yet it is	10
the beautiful itself	10
no one can	10
value of the	10
and in this	10
in the works	10
or in the	10
in the following	10
has been the	10
in this manner	10
that the aesthetic	10
of art may	10
since it is	10
of the divine	10
all sorts of	10
that we can	10
the appearance of	10
the concepts of	10
the field of	10
to make clear	10
its own sake	10
points of view	10
the scope of	10
consciousness of the	10
he is a	10
the order of	10
there is not	10
that we are	10
of the line	10
has to be	10
in the life	10
content and form	10
nothing but the	10
the music of	10
in the face	10
for in the	10
the content of	10
to be made	10
it is no	10
the importance of	10
the practical man	10
of the nineteenth	10
in the present	10
to the shape	10
the other of	10
and the same	10
works of the	10
but they are	10
of the eighteenth	10
art can be	10
the time of	10
thought of the	10
the beginning of	10
we have been	10
can it be	10
for its own	10
of the truth	10
it seems to	10
philosophy of history	10
in the air	10
a science of	10
because of the	10
that we should	10
that have been	10
and if the	10
out of which	10
place in the	10
what i have	10
when we are	10
to the beauty	10
we shall not	10
the necessity of	10
a form of	10
of the spectator	10
the effects of	10
has sometimes been	10
in all its	10
which are the	10
by those who	10
in some degree	10
one of them	10
because of its	10
like that of	10
in a picture	10
a poet of	10
the beautiful as	10
is not sufficient	10
the eye of	10
as he is	10
and of its	10
to the fact	10
ceases to be	10
of the self	10
only in the	10
power of the	10
it is that	10
one or more	10
the serpentine line	10
it from the	10
of men and	10
expressiveness of the	10
belonging to the	10
there is always	10
we should be	10
the same reason	10
the seventeenth century	10
the union of	10
so much of	10
to the first	10
and when we	10
example of the	10
of them in	10
than that of	10
of the colors	10
relation to the	10
of the content	10
in the eighteenth	10
the useful and	10
in a more	10
of a great	10
in the history	10
on the same	10
with which we	10
the reader will	10
of the feelings	10
the historian of	10
it as a	10
made up of	10
must not be	10
the values of	10
every part of	10
is nothing but	10
intuition of the	10
be seen in	10
may be of	10
has often been	10
not to the	10
in the next	9
there is much	9
the division of	9
large part of	9
the one case	9
but if the	9
that there are	9
the consciousness of	9
the formation of	9
on the stage	9
it can be	9
those who are	9
the pleasure in	9
the confusion between	9
in the sounds	9
it is always	9
here is a	9
the most beautiful	9
and in what	9
there is another	9
first of all	9
of the theoretic	9
to be beautiful	9
part of our	9
the heart of	9
for the moment	9
we have the	9
in which all	9
of the third	9
which he is	9
a theory of	9
surface of the	9
in the theory	9
an example of	9
the first to	9
of things and	9
different from the	9
the force of	9
to the former	9
when we come	9
what is it	9
in real life	9
of pure intuition	9
such as are	9
either of these	9
them to be	9
all of them	9
the source of	9
of the chief	9
the other is	9
of lines and	9
we want of	9
the poet is	9
given to the	9
is the basis	9
much as possible	9
which i have	9
may be made	9
every work of	9
have to be	9
but as the	9
when we have	9
a sense of	9
a large part	9
between the aesthetic	9
other of the	9
the medium of	9
the relations of	9
be thought of	9
what are the	9
in a single	9
in proportion to	9
relation between the	9
of the things	9
opposed to the	9
the words of	9
to the nature	9
to be seen	9
of beauty and	9
the analysis of	9
experience of art	9
poetry is the	9
the surfaces of	9
it is well	9
the repetition of	9
little or no	9
yet there is	9
of the intellect	9
and through the	9
come to be	9
can be made	9
precisely because it	9
is full of	9
but with the	9
two forms of	9
that there may	9
in what we	9
means of which	9
the hand of	9
of the highest	9
the more complex	9
function of the	9
of art that	9
are the same	9
conception of art	9
in some measure	9
of the old	9
in the hands	9
he who is	9
the imitation of	9
tone of the	9
only through the	9
from the other	9
but we must	9
art of painting	9
a state of	9
of science and	9
lies in the	9
values of the	9
are apt to	9
to the latter	9
definition of art	9
of the universe	9
and even in	9
a representation of	9
is the aesthetic	9
which is an	9
of human nature	9
of poetry is	9
the moment of	9
nothing more than	9
the artist and	9
of art has	9
far as he	9
the facts of	9
general idea of	9
with a view	9
the rhythm of	9
is possible to	9
of the experience	9
we shall find	9
the beautiful in	9
the manner of	9
do not know	9
they are all	9
all that is	9
aware of the	9
by which the	9
there are many	9
as the science	9
well as in	9
of the spiritual	9
nature of language	9
as soon as	9
in the human	9
the physically beautiful	9
and we find	9
of the above	9
of the true	9
of their own	9
we shall have	9
to the imagination	9
is the more	9
the independence of	9
between poetry and	9
as one of	9
the amount of	9
reproduction of the	9
the genius of	9
concept of the	9
which cannot be	9
to the work	9
is found in	9
and the aesthetic	9
when he is	9
question of the	9
because they have	9
seen in the	9
on one side	8
attitude of the	8
to wish to	8
a feeling of	8
those of a	8
the sight of	8
the reality of	8
have been so	8
superior to the	8
for the purpose	8
that has been	8
of a new	8
of what we	8
do with the	8
the relations between	8
upon art as	8
and there are	8
as if they	8
i have already	8
with which it	8
are in the	8
a view to	8
to us in	8
accordance with the	8
as to its	8
the same in	8
the position of	8
at a distance	8
is based on	8
revelation of the	8
or of a	8
and the ugly	8
in the best	8
who does not	8
of the church	8
pleasure of the	8
a unity of	8
the variety of	8
and with a	8
other forms of	8
of taste and	8
in the words	8
art does not	8
some of these	8
of it as	8
we shall be	8
along with the	8
is composed of	8
of the material	8
to recognize the	8
cease to be	8
to belong to	8
little more than	8
the nature and	8
of time and	8
is divided into	8
we find it	8
of the earth	8
to our own	8
of the sea	8
independence of art	8
of the building	8
there are two	8
for which reason	8
of the many	8
and the practical	8
has been called	8
a single line	8
it is therefore	8
to the world	8
the theoretic spirit	8
cannot fail to	8
it with the	8
expressed in the	8
in place of	8
in a certain	8
say that the	8
the task of	8
with each other	8
how can we	8
of this sort	8
it becomes a	8
in the medium	8
the progress of	8
that would be	8
interpretation of the	8
to give a	8
as that which	8
aesthetic fact is	8
and from the	8
lines and colours	8
of the drama	8
in a work	8
in the future	8
itself to the	8
from the eye	8
of the action	8
the business of	8
have the same	8
the other side	8
which have been	8
muscles of the	8
with all the	8
will always be	8
the enjoyment of	8
can be expressed	8
of art can	8
the difficulty of	8
man on the	8
and just as	8
such a way	8
consists in the	8
have been the	8
the soul of	8
on the hill	8
part of it	8
in this place	8
the reason why	8
of life and	8
our knowledge of	8
of human activity	8
to return to	8
is always a	8
on this account	8
of the mountain	8
but this does	8
to those who	8
comparison with the	8
there would be	8
be the same	8
the measure of	8
we have to	8
with the aesthetic	8
of feeling and	8
in relation to	8
the side of	8
for they are	8
appreciation of the	8
which is in	8
intuition and expression	8
that he should	8
the criterion of	8
them to the	8
each of these	8
the structure of	8
not mean that	8
the sound of	8
be the case	8
such a one	8
the death of	8
not succeed in	8
which we may	8
added to the	8
in one of	8
applied to the	8
in the soul	8
as if the	8
that these are	8
i mean the	8
who do not	8
unity of a	8
and literary classes	8
great number of	8
art and of	8
spirit of the	8
the mind is	8
of the concrete	8
the absurdity of	8
of the author	8
the philosopher of	8
from the aesthetic	8
well as of	8
and in so	8
vision of the	8
addition to the	8
the material of	8
the discovery of	8
it is difficult	8
even the most	8
art of the	8
of the useful	8
a picture of	8
useful and the	8
it is as	8
arises from the	8
activity of externalization	8
thought of as	8
a philosophy of	8
not be a	8
and if it	8
of beauty in	8
for a moment	8
with the practical	8
to one another	8
on the ground	8
the shapes of	8
which there is	8
charm of the	8
appear to be	8
to what we	8
the attitude of	8
as to whether	8
for the artist	8
right and left	8
in dealing with	8
of poetic imagination	8
such as those	8
much as the	8
sound of the	8
writers of the	8
in this respect	8
the service of	8
for this purpose	8
to the second	8
the contrast between	8
what they are	8
characteristic of the	8
the minds of	8
not a mere	8
a combination of	8
look at the	8
out of his	8
said of the	8
one of his	8
of the poetic	8
mind of the	8
our interest in	8
to do so	8
this would be	8
to some extent	8
what we want	8
the means of	7
in the direction	7
from which they	7
the adjective beautiful	7
in that of	7
to say of	7
just as in	7
of its beauty	7
in some way	7
of being a	7
it should not	7
the color of	7
of the very	7
the true and	7
they can be	7
an act of	7
has nothing to	7
we call the	7
the middle ages	7
of him who	7
as we should	7
of the sense	7
for the aesthetic	7
example of this	7
the first is	7
are not aesthetic	7
case of the	7
is perhaps the	7
the same sort	7
and as a	7
storage and transfer	7
as it has	7
of his age	7
is able to	7
with the help	7
the results of	7
of the origin	7
by way of	7
is apt to	7
be said that	7
of aesthetic emotion	7
the perfection of	7
that when we	7
repetition of the	7
of the unity	7
of cubic existence	7
of the beholder	7
to a more	7
that we may	7
the parts are	7
figure of a	7
a mixture of	7
so much as	7
that is of	7
the muscles of	7
proportion to the	7
of aesthetic expression	7
from time to	7
in the place	7
feeling tone of	7
the proportions of	7
may have been	7
two or more	7
of a painting	7
the substance of	7
of a beautiful	7
the whole and	7
is true that	7
the power to	7
of all our	7
presence of the	7
of a poet	7
the ideal of	7
to the ear	7
of the musical	7
the eyes of	7
the recognition of	7
of the italian	7
to be as	7
in itself and	7
of taste is	7
the practical and	7
examples of the	7
expression is a	7
much the same	7
come to the	7
as a result	7
for all the	7
the activities of	7
of the will	7
the part of	7
do not mean	7
it is more	7
is the art	7
think of the	7
art may be	7
but of the	7
which do not	7
of any kind	7
figure of the	7
the dimensions of	7
a glimpse of	7
in the body	7
and he who	7
depend upon the	7
the scientific and	7
and that is	7
of the writer	7
laws of the	7
to give it	7
of some of	7
same kind of	7
rest of the	7
a symbol of	7
is the only	7
than any of	7
the identity of	7
to have some	7
more of the	7
the head of	7
in a word	7
which are not	7
and what we	7
we have not	7
feeling for the	7
at a certain	7
the greater the	7
of a perfect	7
the thought is	7
after what manner	7
of the ancients	7
that there exist	7
of art or	7
which they have	7
is evident that	7
at the time	7
to form a	7
in the power	7
the body of	7
is that it	7
color of the	7
is not merely	7
sympathy with the	7
the fact of	7
that it would	7
that it may	7
artist and the	7
and in its	7
sense of beauty	7
among the most	7
of a fine	7
the representative arts	7
the system of	7
the state of	7
is a part	7
there was a	7
of the statue	7
the objects of	7
by reason of	7
it is so	7
one another in	7
in the end	7
which are called	7
is an expression	7
every form of	7
to have a	7
a number of	7
the colors of	7
which it has	7
and every other	7
the range of	7
feeling of the	7
of harmony and	7
independent of the	7
not only in	7
of art from	7
the middle of	7
is not possible	7
through which the	7
to which it	7
feeling in the	7
is to the	7
all works of	7
or any other	7
of the inferno	7
to understand the	7
idea of what	7
function of art	7
do not exist	7
truth in the	7
so much the	7
to the reader	7
to look at	7
all of which	7
the action of	7
which makes it	7
be at once	7
we have observed	7
and the most	7
man and the	7
as for example	7
instead of a	7
of the particular	7
he speaks of	7
as a rule	7
from the others	7
the face of	7
just as we	7
its relation to	7
of the organism	7
to the form	7
translation of the	7
motion of the	7
while in the	7
in what way	7
the strength of	7
of the horn	7
one or the	7
to be more	7
a paper on	7
not wish to	7
of the image	7
of a given	7
the two forms	7
it was the	7
for the more	7
this is true	7
independent of any	7
when it has	7
effect of the	7
height of the	7
we have shown	7
the attainment of	7
account for the	7
other parts of	7
part of his	7
the eye by	7
eye of the	7
of the reader	7
of the physical	7
of the life	7
the error of	7
which it would	7
the downward force	7
it as an	7
movements of the	7
of the relations	7
the reason for	7
embodied in the	7
and as it	7
of real life	7
distinct from the	7
at all events	7
the suggestion of	7
these are the	7
recognition of the	7
to all the	7
for those who	7
and to be	7
the law of	7
to see the	7
time to time	7
to the true	7
experience of the	7
a poem is	7
to the end	7
the product of	7
from what has	7
from which the	7
according to its	7
existence of the	7
of the last	7
one of our	7
if we are	7
an illustration of	7
as distinguished from	7
to its own	7
has the same	7
that the content	7
in contact with	7
a great deal	7
should not have	7
as the result	7
which it was	7
is at the	7
is the expression	7
of all other	7
that the mountain	7
them in the	7
to the most	7
and transfer of	7
is but a	7
which must be	7
of the total	7
were to be	7
a question of	7
in common with	7
sake of the	7
long as we	7
activities of the	7
of the relation	7
us with the	7
beauty of nature	7
it not for	7
there are certain	7
the poet has	7
i have said	7
the body and	7
of the critic	7
of the complex	7
the loss of	7
nature and of	7
the same manner	7
parts of a	7
is a question	7
he is not	7
of aesthetic appreciation	7
with the same	7
the sixteenth century	7
the intuition of	7
the eye in	7
must be made	7
and breadth of	7
of a story	7
the physical fact	7
interfere with the	7
of the gods	7
a knowledge of	7
harmony and balance	7
the explanation of	7
art has been	7
of the good	7
all the arts	7
the objects represented	7
grace and beauty	7
apart from the	7
even to the	7
the author of	7
beauty and grace	7
that we do	7
in a paper	7
be proper to	7
same sort of	7
subject to the	6
principle of the	6
when the artist	6
and let us	6
but that is	6
we are in	6
be divided into	6
man of taste	6
rise to the	6
even when we	6
occupied with the	6
but for the	6
been looked upon	6
things which are	6
nothing but a	6
of his work	6
is not necessary	6
of the simple	6
to recognize that	6
in the thought	6
it is of	6
line of the	6
what can be	6
hands of the	6
search for the	6
history of the	6
to define the	6
i have called	6
the title of	6
of the child	6
judgment of the	6
has come to	6
let us now	6
to face with	6
in a general	6
problem of evil	6
of serpentine lines	6
to be able	6
capable of being	6
or as a	6
the work is	6
take the place	6
the university of	6
in a novel	6
one of those	6
the former is	6
beauty of line	6
only to the	6
back into the	6
by the artist	6
separated from the	6
and the moral	6
and when it	6
the world to	6
pass from the	6
the psychology of	6
sweep of the	6
of the heart	6
sphere of the	6
technique of the	6
only a few	6
that one of	6
the feelings of	6
and so far	6
of evil in	6
to make them	6
the kind of	6
the scale of	6
she could not	6
to us the	6
to him who	6
account of the	6
thought and feeling	6
critique of pure	6
the failure to	6
a process of	6
our own lives	6
the need for	6
aesthetic or artistic	6
the man on	6
the feeling tone	6
a word is	6
is there a	6
amounts to saying	6
is a language	6
enough to be	6
that the beautiful	6
to write a	6
this means that	6
production of the	6
ourselves in the	6
altogether different from	6
and the drama	6
this mode of	6
has been done	6
to the human	6
necessary to the	6
the body in	6
this it is	6
the latter is	6
is more than	6
of language and	6
so to speak	6
the whole is	6
neither beautiful nor	6
must of necessity	6
page of the	6
so that we	6
the satisfaction of	6
we are to	6
of music in	6
it must also	6
the storage and	6
of the dance	6
of the problems	6
on the canvas	6
of the persons	6
perceptive and empathic	6
it is now	6
beauty of a	6
thinking away from	6
a good style	6
the effect is	6
appear in the	6
order to make	6
which it may	6
application of the	6
has been made	6
at a loss	6
here it is	6
prose and poetry	6
a collection of	6
look at a	6
those which are	6
that it has	6
a mode of	6
the words and	6
to consist of	6
expression of life	6
may seem to	6
face to face	6
parallel to the	6
the painting of	6
world of the	6
of beauty is	6
dwell upon the	6
this amounts to	6
has ever been	6
the fulfillment of	6
the sum of	6
first of these	6
by the help	6
not merely to	6
of lines is	6
between the useful	6
we want to	6
beautiful in nature	6
the utmost beauty	6
judgments of value	6
nature and the	6
in the manner	6
end of art	6
the theoretic and	6
depends largely upon	6
of a poem	6
and i will	6
but there are	6
art is that	6
the technique of	6
is not true	6
of the greek	6
of a line	6
of the middle	6
when this is	6
the assistance of	6
limits of the	6
of art over	6
what sort of	6
as there are	6
of his life	6
which we take	6
and we can	6
the desire of	6
power of a	6
for their own	6
an attitude of	6
at first sight	6
so far from	6
not merely the	6
of unity in	6
even when it	6
same as that	6
of it to	6
life in the	6
tones of the	6
this may be	6
said that the	6
but at the	6
be due to	6
the following of	6
no other than	6
we talk of	6
the artist who	6
that the statue	6
that language is	6
contained in the	6
no less than	6
as a matter	6
it is on	6
do we not	6
energy of the	6
based upon the	6
of the arch	6
expression of a	6
in the memory	6
a thing is	6
has its own	6
in a different	6
leads to the	6
it as the	6
in the industrial	6
history of art	6
element of the	6
the intention of	6
of the race	6
i may be	6
must have a	6
to do this	6
purpose of the	6
which we call	6
of the impressions	6
it were a	6
enables us to	6
a new and	6
of course the	6
downward force is	6
and apart from	6
history of aesthetic	6
it belongs to	6
one part of	6
to a complete	6
in poetry the	6
the most perfect	6
the pursuit of	6
the aesthetics of	6
when there is	6
is due to	6
man or woman	6
and the first	6
if it is	6
must be an	6
the center of	6
this is a	6
states of the	6
the height of	6
the figure of	6
with the concept	6
is given to	6
the attention is	6
be a mere	6
to us as	6
art as a	6
examples of this	6
at other times	6
impression of the	6
quite as much	6
as there is	6
division of the	6
whether it be	6
activity of the	6
be admitted that	6
more complex and	6
but in that	6
is it not	6
is the man	6
because there is	6
nature of aesthetic	6
contact with the	6
to the top	6
no part of	6
but in a	6
for want of	6
of painting is	6
words and phrases	6
have been made	6
or the other	6
there are other	6
is no more	6
to show how	6
themselves to the	6
some sort of	6
it is by	6
than any other	6
the realization of	6
as in painting	6
intuition and the	6
and vice versa	6
conceptions of the	6
on a level	6
top of the	6
or by the	6
the evolution of	6
second half of	6
and from this	6
was aware of	6
what we are	6
theory of artistic	6
this is to	6
art must be	6
as distinct from	6
reaction of the	6
an idea of	6
in respect of	6
the conditions of	6
the industrial arts	6
corresponding to the	6
what has already	6
of the non	6
help of the	6
contrast between the	6
for the human	6
matter of fact	6
of what the	6
is a common	6
be understood by	6
there is but	6
the round arch	6
of the philosophy	6
he will not	6
as if we	6
the individual and	6
is difficult to	6
to account for	6
result of the	6
each of which	6
of what he	6
understanding of the	6
critique of aesthetic	6
idea of a	6
idea of art	6
in its place	6
upon it as	6
to the pleasure	6
art is to	6
take pleasure in	6
each of the	6
as to be	6
and what are	6
at once the	6
beautiful nor ugly	6
not able to	6
of what i	6
is even more	6
is for the	6
of these is	6
is that which	6
at the moment	6
ideas of the	6
as an expression	6
the rising of	6
the lower senses	6
definitions of the	6
in the heart	6
perception of shape	6
the midst of	6
say of a	6
the sensuous medium	6
the logic of	6
according to this	6
just as a	6
if they were	6
as a means	6
to the object	6
faith in the	6
us to the	6
we know that	6
of the music	6
as an element	6
similar to those	6
the solution of	6
as the most	6
of expression is	6
the former are	6
make up for	6
poetry and prose	6
to the study	6
for the other	6
in the total	6
upon the attention	6
the absence of	6
not only are	6
is a good	6
music and the	6
of the present	6
type of unity	6
on its own	6
in the expression	6
in the service	6
of a figure	6
of the absolute	6
philosopher of art	6
of sensibility to	6
the individuality of	6
length of the	6
the student of	6
is embodied in	6
is well known	6
to be understood	6
delight in the	6
the human spirit	6
of a good	6
medium of expression	6
the outline of	6
that part of	6
of the moral	6
the different arts	6
which should be	6
by the word	6
the aesthetic judgment	6
the feeling for	6
to be called	6
an art of	6
none the less	6
with the particular	6
of feeling in	6
to take the	6
is as much	6
of the day	6
have called the	6
different from that	6
between thought and	6
in nature and	6
as to what	6
of art must	6
the ends of	6
on that account	6
do not feel	6
in the epic	6
we speak of	6
the lives of	6
that may be	6
is a mere	6
that of art	6
not only to	6
region of the	6
distinguished from the	6
should be so	6
instance of the	6
not only of	6
from the same	6
importance to the	6
to saying that	6
aspects of a	6
the aesthetic life	6
the reader may	6
line of grace	6
of mystical aesthetic	6
of an object	6
between music and	6
of a different	6
on this subject	6
as to their	6
divisions of the	6
he failed to	6
has also been	6
of the end	6
with which the	6
to the third	6
art and the	6
he must have	6
to the point	6
an instance of	6
method of the	6
the habit of	6
criticism of the	6
must be the	6
it is generally	6
the rhetorical categories	6
a revelation of	6
it would seem	6
same as the	6
to express the	6
of the german	6
will be more	6
reduced to the	6
of the facts	6
that even the	6
not for the	6
to that which	6
a man or	6
to be done	6
of pleasure and	6
but only a	6
is still more	6
is capable of	6
poetry and music	6
the light and	6
become aware of	6
is true of	6
in the field	6
sidenote intuition and	6
of the effects	6
cause and effect	6
he should not	6
as our own	6
in the drama	6
that he has	6
those that are	6
heart of the	6
in the lines	6
the ugly is	6
as we do	6
they seem to	6
themselves to be	6
this kind of	6
upon which the	6
origin of art	6
value of a	6
a study of	6
and the good	6
the effort to	5
and we have	5
and expression in	5
force in the	5
characteristic of art	5
if the reader	5
have not been	5
with respect to	5
rhythm of stress	5
is a fact	5
presence of a	5
from the rest	5
interest in the	5
insight into the	5
literature and art	5
the semblance of	5
movements of lines	5
is the result	5
as much to	5
lights and shades	5
thoughts and feelings	5
we fail to	5
system der aesthetik	5
of aesthetic facts	5
and even when	5
is the truth	5
we say that	5
other than the	5
to feel the	5
but the whole	5
face of the	5
to call the	5
the will is	5
beauty is the	5
to know the	5
it is quite	5
he has a	5
aroused by the	5
with the life	5
as opposed to	5
and dramatic poetry	5
the type of	5
not so much	5
the human figure	5
the novel and	5
a rhythm of	5
are not the	5
in the story	5
the media of	5
the spirit and	5
for the work	5
explanation of the	5
the connexion between	5
to include the	5
size of the	5
in my mind	5
is the beautiful	5
of the shape	5
the next place	5
order that there	5
that the word	5
of art should	5
down to the	5
beginning of the	5
of the pure	5
mood of the	5
forms of knowledge	5
many of the	5
the products of	5
in a story	5
for a better	5
the second half	5
evil in aesthetics	5
they will be	5
philosophy of art	5
of the general	5
is made to	5
but that which	5
of the emotions	5
the things which	5
from the hand	5
perception and empathy	5
although they are	5
could not have	5
and as the	5
far from being	5
so much for	5
and the intellectual	5
the length of	5
balance between the	5
it by the	5
in the object	5
appear to have	5
the warmth of	5
or that the	5
with our own	5
us back to	5
bound up with	5
the tones of	5
value in the	5
because of their	5
is meant to	5
the artist to	5
aesthetic activity is	5
a part in	5
saying that the	5
of the meaning	5
of the romantic	5
the interplay of	5
allows us to	5
which is so	5
the mode of	5
work of a	5
interest in it	5
is in fact	5
the description of	5
rivalry between the	5
are the most	5
art and morality	5
of line in	5
there is also	5
of the limits	5
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beautiful and ugly	5
science and philosophy	5
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men of letters	5
the color and	5
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critique of judgment	5
degrees of beauty	5
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portion of the	5
that they do	5
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the peculiarities of	5
us to see	5
picture of a	5
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manner in which	5
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poetry and of	5
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work of genius	5
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matter and form	5
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upon as the	5
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novel and drama	5
the whole world	5
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what he has	5
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the origin and	5
inner life of	5
of the sublime	5
of the materials	5
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every one of	5
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which the latter	5
with the most	5
a few words	5
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action of the	5
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view of art	5
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