"Keynote" Quotes from Famous Books
 ... nothing narrower, is religion in its perfection; and the measure in which we have attained to this harmony with God, is the measure in which we are Christians. As two stringed instruments may be so tuned to one keynote that, if you strike the one, a faint ethereal echo is heard from the other, which blends undistinguishably with its parent sound; so, drawing near to God, and brought into unison with His mind and will, our responsive spirits vibrate in accord with His, and give forth tones, ...
— Expositions Of Holy Scripture - Volume I: St. Luke, Chaps. I to XII • Alexander Maclaren
... in his descriptions, and his suggestions for decoration, that shows that he did not entirely free himself from the false taste of his time. But it is clear that he was one of the first to recognise what is, indeed, the very keynote of aesthetic eclecticism, I mean the true harmony of all really beautiful things irrespective of age or place, of school or manner. He saw that in decorating a room, which is to be, not a room for show, but a room ...
— Intentions • Oscar Wilde
... done with it. Henceforth I will devote myself to the only real powers which can enlighten us. Yet there is humiliation in failure after so many years of study. It is folly to follow a partial truth of which we miss the keynote, though we sometimes blunder ...
— Dawn • H. Rider Haggard
... Tyrian crimson and Byzantine purple. These with full blue breathed between them at the zenith, and green blue nearer the horizon, form the scales and chords of color possible to the morning and evening sky in pure and fine weather; the keynote of the opposition being vermilion against green blue, both of equal tone, and at such a height and acme of brilliancy that you cannot see the line where their edges ...
— The Storm-Cloud of the Nineteenth Century - Two Lectures delivered at the London Institution February - 4th and 11th, 1884 • John Ruskin
... incarnation of the Arthurian legend which we have. It is singular, by the way, how frequently one is impelled to use the epithet "noble" in praising MacDowell's work; in reference to the "Sonata Eroica" it has an emphatic aptness, for nobility is the keynote of this music. If the work, as a whole, has not the dynamic power of the "Tragica," the weight and gravity of substance, it is both a lovelier and a more lovable work, and it is everywhere more significantly accented. He has written few things more luxuriantly beautiful ...
— Edward MacDowell • Lawrence Gilman
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