Word: humors
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Dates: during 1920-1929
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Following this line of suggestion, it is not difficult to understand the secret of Beethoven's appeal for an acquaintance with his works will corroborate the statement that Beethoven is first, an emotional composer, second, an artist of great dramatic power; and third, a man of fascinating humor, whose works have their being to intensify those never changing qualities in man--his basic emotions, love, joy, sorrow, his craving for the dramatic, for something to happen, and his instinct for what is humorous--for the incongruities and variety in the spectacle of life...
...works, in consequence, have the elemental force and variety of natural phenomena. With what dramatic power does he at times take us in his arms, hurl us down, and stamp upon us--"Listen to me, base mortal, or perish." And what a saving grace is his gift of humor, just as important in art as in daily life. Beethoven never tears a passion to tatters, never protests too much, can be serious and truly impressive without becoming solemn or pontificial. Before Beethoven, music had been practically limited to the expression of joy and sorrow in a broad sense of these...
...Humor...
...HUMOR...
...thing that works more harm than it affords amusement. Internal criticism of whatever nature is always permissible, but amusing oneself at the public expense of others is particularly bad taste. A case in point is the memorable Lampoon issue of last fall embodying what the editors thought legitimate humor. In the Tiger it would have been, but that would have been a laughing with rather than at. The Daily Princetonian...