the beauty of

the beauty of (something)

The positive effects of something. A: "I'm finally feeling better after resting for a few days." B: "Well, that's the beauty of sleep."
See also: beauty, of
Farlex Dictionary of Idioms.

the beauty of

see under that's the beauty of.
See also: beauty, of
The American Heritage® Dictionary of Idioms by Christine Ammer.
See also:
  • the beauty of (something)
  • the beauty of something/of doing something
  • beauty lies in the eyes of the beholder
  • beauty is in the eye of the beholder
  • beholder
  • beauty queen
  • beauty sleep
  • get (one's) beauty sleep
  • get your beauty sleep
  • (I've) got to go home and get my beauty sleep
References in classic literature
The modest converse of the shepherd girls of these hamlets and the care of my goats are my recreations; my desires are bounded by these mountains, and if they ever wander hence it is to contemplate the beauty of the heavens, steps by which the soul travels to its primeval abode."
Let any man go back to those delicious relations which make the beauty of his life, which have given him sincerest instruction and nourishment, he will shrink and moan.
Her chin had certainly its share in forming the beauty of her face; but it was difficult to say it was either large or small, though perhaps it was rather of the former kind.
To Shelley as a follower of Plato, however, the beauty of the senses is only a manifestation of ideal Beauty, the spiritual force which appears in other forms as Intellect and Love; and Intellect and Love as well are equal objects of his unbounded devotion.
He is, as we have implied, the great apostle of full though not unhealthy enjoyment of external Beauty, the beauty of the senses.
Hetty's was a spring-tide beauty; it was the beauty of young frisking things, round-limbed, gambolling, circumventing you by a false air of innocence--the innocence of a young star- browed calf, for example, that, being inclined for a promenade out of bounds, leads you a severe steeplechase over hedge and ditch, and only comes to a stand in the middle of a bog.
Crispin Sartwell (2012) notes that in the Symposium Plato connect a beauty to a response of love and desire, even though he locates beauty in the realms of the Forms (an abstract property or quality transcendent to space and time); and he identifies the beauty of particular objects in their participation in the Form.
Beauty A CERTAIN beauty needs perfect skin Alas this beauty may be only paper thin The beauty of the heart and mind Can prove very hard to find Beauty also lies in the eye of the beholder Whom may or may not be older Wisdom and beauty can be a perfect match, And for most of us too much to ask Beauty is a little like good wine It can stand the test of time Great beauty can last a lifetime Becoming a little diluted down the line Your wife may or may not be a beauty But to love and care is your duty.
Plato writes in the Symposium that Diotima, the woman from Mantinea who educates the young Socrates in the ways of love, tells the seeker after Beauty to use beautiful things like rising stairs; to ascend from admiring the beauty of a body to the beauty of all bodies, from the beauty of bodies to the beauty of customs, from customs to learning, and finally to Beauty itself.
The beauty of art therefore is ambiguous and depends on the way in which we respond with our freedom to its ambiguity: we can opt for its authentically spiritual orientation, or we can remain with a more equivocal vision.
Moreover, when we appreciate the beauty of a thing, we appreciate its beauty as it is realized in its other properties." For example, suppose we find a rose beautiful.
Indeed, the beauty of Lascaux may tell us something about the meaning of the Bible story of Paradise, our first parents, and even the Fall.
How does one square the beauty of those towering lights as the lights rose into the cool Nurnberg evening, for example, with the store-bought light bulbs strung together by Felix Gonzalez-Torres, stirring souls as the lights flicker and die, one by one?
[,] a tantalizing suggestion about the beauty of its wearer." This conception of Chinese American identity as a blend of East and West allowed pageant supporters to negotiate cultural, economic, and political tensions within the Chinese American community and with the broader community during the late 1950s and 1960s.(5)
Many books on the beauty of women were available to Vasari (Franco in 1542, Piccolomini in 1545, Dolce in 1545, Domenichi in 1549(12)), and some of them even discussed feminine beauty as ineffable, but none seem to contain the coded regola, modo, misura, disegno that signals Firenzuola as a probable source.