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| The pleasure that beauty inspires. A feeling of well-being that is it's own justification. |
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| A pleasing arrangement of parts that affects us aesthetically. One of the gifts of humanities; the 'rightness', the 'rightness' being determined by the pleasure it gives us. |
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| Classical art, literature, and philosophy. |
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| A movement begun in the early Renaissance that extolled and studied the creative and intellectual legacies of Greece and Rome, leading to conviction that only through such study could one become fully human; the term now is expanded to the study of contributions from all cultures. |
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| A study of what great artists, writers, and philosophers have accomplished. Classical art, literature, and philosophy. |
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| A label often applied to Leonardo Da Vinci; indicating his display of genius in many areas, from art, to science; now used as high praise for anyone who has earned a reputation for high achievement in several fields. |
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| commits no crimes against humanity, unselfish, free of rigid prejudices, does not jump to conclusions. |
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| Beauty, Beautiful Movement, Language, Ideas, Deeper sense of the pastDeep. |
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| One of the gifts of the humanities; movement is as much a part of being human as breathing. Even though our own movements may lack coordination of a skilled dancer, we find aesthetic pleasure in not just watching others but also in participating to the best of our abilities. |
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| a gift of the humanities; through language we make ourselves understood to others, playing with language has evolved into a high art. Like the beautiful, good language needs no further justification. |
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| a gift of the humanities; words are the means by which we think. We have intuitions without words, but they are not the same. "The Mind" when people speak of it is generally where ideas are formulated and stored. "Thinking", like dancing, needs no further justification. |
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| A gift of the humanities; the realized human being is an accumulation of what has gone before and how that affects the present. These experiences help each of us to better understand what living is all about. |
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| becoming objective in how we evaluate what we see, read, or hear; separating rational and emotional responses; delaying a final judgment until we have all the data. |
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| He made the distinction between two ways of responding not only to drama but to events in real life;Appollonian and Dionysian. |
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| disciplined, analytical, rational, and coherent; responds by seeking meaning. |
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| emotional, intuitive, freedom from limits; responds emotionally. |
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| the quality of identifying with another, becoming, in a sense, that person and being involved in his or her problems. "A Dionysian trick of our nature." |
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| (coined by Bertolt Brecht, a German playwright from the early twentieth century.)Used to describe the ideal, non emotional state in which the viewer is best able to derive the authors' message. Appollonian. |
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| the framework of circumstances, background, or environment of which a given work is understood; historical context is the influence that the ideas, values, and styles of a particular time have on a society, work of art, or philosophy. |
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| Often mistaken for critical thinking, it is justifying something we have done that our conscience may disapprove of, or explaining away something others do or say that would otherwise damage our ego. |
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| A careful evaluation of a work of literature, drama, visual art, music, or cinema by professional or non-professional critic, the former earning a salary for his or her opinions because of demonstrated knowledge of a particular field. |
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| The pictures in your mind that the poem communicates, found especially in poetry, communicating what ordinary prose cannot, or at least not economically. |
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| A demanding literary form in which the poet is restricted to fourteen lines. Tight rules of length, rhythm, and rhyming pattern. |
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| Non-critical person whose language reflects a concern for the immediate moment, especially as what is happening or being viewed as relates to the self. |
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| A critical thinker whose use of language is characteristically colorful, often playful, filled with metaphors that suggest a greater interest in the general than in just the particular. |
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Andrew Marvell(1621-1678){Hedonist}
Had we but world enough, and time,
This coyness, lady, were no crime.
We would sit down and think which way
To walk, and pass our long love's day;
Thou by the Indian Ganges' side
Shouldst rubies find; I by the tide
Of Humber would complain. I would
Love you ten years before the Flood;
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires, and more slow.
An hundred years should go to praise
Thine eyes, and on thy forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest;
An age at least to every part,
And the last age should show your heart.
For, lady, you deserve this state,
Nor would I love at lower rate.
But at my back I always hear
Time's winged chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found,
Nor, in thy marble vault, shall sound
My echoing song; then worms shall try
That long preserv'd virginity,
And your quaint honour turn to dust,
And into ashes all my lust.
The grave's a fine and private place,
But none I think do there embrace.
Now therefore, while the youthful hue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may;
And now, like am'rous birds of prey,
Rather at once our time devour,
Than languish in his slow-chapp'd power.
Let us roll all our strength, and all
Our sweetness, up into one ball;
And tear our pleasures with rough strife
Thorough the iron gates of life.
Thus, though we cannot make our sun
Stand still, yet we will make him run. |
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Archibald MacLeish{Epicurean}
And here face down beneath the sun
And here upon earth’s noonward height
To feel the always coming on
The always rising of the night
To feel creep up the curving east
The earthy chill of dusk and slow
Upon those under lands the vast
And ever climbing shadow grow
And strange at Ecbatan the trees
Take leaf by leaf the evening strange
The flooding dark about their knees
The mountains over Persia change
And now at Kermanshah the gate
Dark empty and the withered grass
And through the twilight now the late
Few travelers in the westward pass
And Baghdad darken and the bridge
Across the silent river gone
And through Arabia the edge
Of evening widen and steal on
And deepen on Palmyra’s street
The wheel rut in the ruined stone
And Lebanon fade out and Crete
High through the clouds and overblown
And over Sicily the air
Still flashing with the landward gulls
And loom and slowly disappear
The sails above the shadowy hulls
And Spain go under the the shore
Of Africa the gilded sand
And evening vanish and no more
The low pale light across that land
Nor now the long light on the sea
And here face downward in the sun
To feel how swift how secretly
The shadow of the night comes on… |
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| Hedonist, declared happiness to be the sum total of pleasures experienced during one's lifetime. Hedonism from the Greek word "Delight" a philosophy that happiness is equivalent to physical pleasure and to the possession of things that provide us with pleasure. If it were not for pleasure, saying you were happy would mean nothing. |
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| Seize the Day, doing the most with your potential, reaching for the stars. |
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| an 'earning' being pleasure owed to a 'deserving' person for services rendered or unpleasant chores completed. "The absence of pleasure is a misfortune for which compensation is due." A strict accounting of pleasures owed to them, hedonists may become obsessed. Life is bad if you're not 'paid-off', life is good when you are. |
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| Formulated Epicureanism, a philosophy that happiness is derived from freedom from pain."And since pleasure is the first good and natural to us, for this reason we do not choose every pleasure, but sometimes we pass over many pleasures, when greater discomfort accrues to us as a result of them." Nothing lasts forever, we must accept this fact cheerfully. "Complete happiness is a moderate amount of pleasure with complete freedom from pain." |
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| While enslaved and tortured by the Roman's he was faced with a choice; despair or endure. Recognizing that nothing was unbearable unless one wished to find it so, he chose his course. Thus, Stoicism was born. Stoicism asserts that you choose how you react to circumstances, events, and pain. Pain is intrinsic to living. Tranquility is worth any price. Equanimity, it is a peace of mind and abiding calmness that cannot be shaken by any grade of both fortunate circumstance and unfortunate one. |
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| Eudeamonia/Aristotelianism, PLato's most famous pupil, and his idea of happiness, being your best at all times, logical, reasonable, pleasant, calm. Equanamimity. Happiness coming from the final summing up of ones life. You cannot be happy and be immoral. Life is good for those who are good. Your excellence has to do with what your purpose is. |
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| Dance at the Moulin de la Gette |
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| Painted in 1876 by Auguste Renoir. There were two, one 6ft. and one smaller, presumably the study for the 6ft painting, although no one kn ows which was painted first.The Moulin de la Gallette was painted by: Van Gogh, Toulous, and Frederico. Renoir presented it in a romantic, pretty light even though the reality was that it was a place of prostitution, he painted his ideals, what he wanted he world to be, to go back to because at the time it was changing drastically due to Franco-Prussian War. "There is no such thing as poverty in art." |
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| An obsession, recipricol, and a relationship based on the pleasure derived from another's company. |
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| Lust, physical attraction. |
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| Platonic love, intellectual interest and pleasure from another, spiritual connection. |
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