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Quote by Zane Grey

“While she waited there she forgot the prospect of untoward change. The bray of a lazy burro broke the afternoon quiet, and it was comfortingly suggestive of the drowsy farmyard, and the open corrals, and the green alfalfa fields. Her clear sight intensified the purple sage-slope as it rolled before her. Low swells of prairie-like ground sloped up to the west. Dark, lonely cedar trees, few and far between, stood out strikingly, and at long distances ruins of red rocks. Farther on, up the gradual slope, rose a broken wall, a huge monument, looming dark purple and stretching its solitary, mystic way, a wavering line that faded in the north. Here to the westward was the light and color and beauty. Northward the slope descended to a dim line of canyons from which rose an up-flinging of the earth, not mountainous, but a vast heave of purple uplands, with ribbed and fan-shaped walls, castle-crowned cliffs, and gray escarpments. Over it all crept the lengthening, waning afternoon shadows.”

Quote by Zane Grey

Work

Riders of the Purple Sage

A renowned Western novel that tells the story of a resourceful woman navigating the rugged terrain of the American West, facing challenges and forming alliances amidst a backdrop of frontier life. more

Author

Zane Grey
Zane Grey

Zane Grey was an American author renowned for his adventure novels, particularly those set in the American West. His works, often featuring rugged individualists, were highly popular during the early 20th century. more

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“The beautiful in nature is a question of the form of the object, and it consists in limitation, whereas the sublime is to be found in an object even devoid of form, so far as it immediately involves, or else by its presence evokes, a representation of limitlessness, yet with a super-added thought of its totality. Accordingly the beautiful seems to be regarded as a presentation of an indeterminate concept of the understanding , the sublime as a presentation of an indeterminate concept of reason, Hence, the delight is in the former case coupled with the representation of quality, but in this case with that of quantity. Moreover, the former delight is very different from the latter in kind. For the beautiful is directly attended with a feeling of the furtherance of life, and thus is compatible with charms and a playful imagination. On the other hand, the feeling of the sublime is a pleasure that only arrises indirectly, being brought about by the feeling of a momentary check of the vital forces followed all at once by discharge all the more powerful, and so it is an emotion that seems to be no play, but a serious matter of the imagination. Hence charms are also incompatible with it; and, since the mind is not simply attracted by the object, but is also alternately repelled thereby, the delight in the sublime does not show how much involve positive pleasure as admiration or respect, i.e. merits the name of a negative pleasure.”