DAYLIGHT DREAM

[vc_column width=”1/1″][vc_row_inner bottom_padding=”40px”][vc_column_inner width=”1/6″][/vc_column_inner][vc_column_inner width=”2/3″][vc_column_text drop_cap=”yes”]Nor does this – its amazing strength, at all tend to cripple the graceful flexion of its motions; where infantileness of ease undulates through a Titanism of power. On the contrary, those motions derive their most appalling beauty from it. Real strength never impairs beauty or harmony, but it often bestows it; and in everything imposingly beautiful, strength has much to do with the magic. Take away the tied tendons that all over seem bursting from the marble in the carved Hercules, and its charm would be gone. As devout Eckerman lifted the linen sheet from the naked corpse of Goethe, he was overwhelmed with the massive chest of the man, that seemed as a Roman triumphal arch. When Angelo paints even God the Father in human form, mark what robustness is there. And whatever they may reveal of the divine love in the Son, the soft, curled, hermaphroditical Italian pictures, in which his idea has been most successfully embodied; these pictures, so destitute as they are of all brawniness, hint nothing of any power, but the mere negative, feminine one of submission and endurance, which on all hands it is conceded, form the peculiar practical virtues of his teachings.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/6″][/vc_column_inner][/vc_row_inner][vc_row_inner bottom_padding=”60px”][vc_column_inner width=”5/6″][vc_single_image image=”2051″ img_size=”full” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/6″][vc_column_text el_class=”prk_9_em”]But as if this vast local power in the tendinous tail were not enough, the whole bulk of the leviathan is knit.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner bottom_padding=”40px”][vc_column_inner width=”1/6″][/vc_column_inner][vc_column_inner width=”2/3″][vc_column_text]Nor does this – its amazing strength, at all tend to cripple the graceful flexion of its motions; where infantileness of ease undulates through a Titanism of power. On the contrary, those motions derive their most appalling beauty from it. Real strength never impairs beauty or harmony, but it often bestows it; and in everything imposingly beautiful, strength has much to do with the magic. Take away the tied tendons that all over seem bursting from the marble in the carved Hercules, and its charm would be gone. As devout Eckerman lifted the linen sheet from the naked corpse of Goethe, he was overwhelmed with the massive chest of the man, that seemed as a Roman triumphal arch. When Angelo paints even God the Father in human form, mark what robustness is there. And whatever they may reveal of the divine love in the Son, the soft, curled, hermaphroditical Italian pictures, in which his idea has been most successfully embodied; these pictures, so destitute as they are of all brawniness, hint nothing of any power, but the mere negative, feminine one of submission and endurance, which on all hands it is conceded, form the peculiar practical virtues of his teachings.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/6″][/vc_column_inner][/vc_row_inner][vc_row_inner bottom_padding=”60px”][vc_column_inner width=”1/6″][vc_column_text el_class=”prk_9_em”]

But as if this vast local power in the tendinous tail were not enough, the whole bulk of the leviathan is knit.

[/vc_column_text][/vc_column_inner][vc_column_inner width=”5/6″][vc_single_image image=”2059″ img_size=”full” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/6″][/vc_column_inner][vc_column_inner width=”2/3″][bquote prk_in=”I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged; but it is only an opinion.” border_color=”#fc6e51″][prkwp_spacer][vc_column_text]Nor does this – its amazing strength, at all tend to cripple the graceful flexion of its motions; where infantileness of ease undulates through a Titanism of power. On the contrary, those motions derive their most appalling beauty from it. Real strength never impairs beauty or harmony, but it often bestows it; and in everything imposingly beautiful, strength has much to do with the magic. Take away the tied tendons that all over seem bursting from the marble in the carved Hercules, and its charm would be gone. As devout Eckerman lifted the linen sheet from the naked corpse of Goethe, he was overwhelmed with the massive chest of the man, that seemed as a Roman triumphal arch. When Angelo paints even God the Father in human form, mark what robustness is there. And whatever they may reveal of the divine love in the Son, the soft, curled, hermaphroditical Italian pictures, in which his idea has been most successfully embodied; these pictures, so destitute as they are of all brawniness, hint nothing of any power, but the mere negative, feminine one of submission and endurance, which on all hands it is conceded, form the peculiar practical virtues of his teachings.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/6″][/vc_column_inner][/vc_row_inner][/vc_column]