The Criticism of LiteratureMacmillan, 1928 - 397 sivua |
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Sivu vii
... material in the text and in the exercises has been tested in the classroom and found practical . The illus- trations and the selections suggested for study have been drawn both from older and from contemporary writing . The teacher who ...
... material in the text and in the exercises has been tested in the classroom and found practical . The illus- trations and the selections suggested for study have been drawn both from older and from contemporary writing . The teacher who ...
Sivu viii
Elizabeth Nitchie. For permission to reprint material which is unde copyright , my thanks are due to the following : to Pro fessor Katherine Lee Bates , for The Debt ; to Mr. S Cron Cronwright , for a passage from Olive Shreiner's From ...
Elizabeth Nitchie. For permission to reprint material which is unde copyright , my thanks are due to the following : to Pro fessor Katherine Lee Bates , for The Debt ; to Mr. S Cron Cronwright , for a passage from Olive Shreiner's From ...
Sivu 9
... material for their own purposes . But they do not use it for the purpose of explaining or judging . The critic's " aim is primarily not to explain and not to judge or dogmatize , but to enjoy ; to realize the manifold charm the work of ...
... material for their own purposes . But they do not use it for the purpose of explaining or judging . The critic's " aim is primarily not to explain and not to judge or dogmatize , but to enjoy ; to realize the manifold charm the work of ...
Sivu 12
... materials with which the critic works . His main material is , of course , the book or the poem it- 12 Quoted by permission of Mr. de la Mare . self , and in the last analysis his criticism will 12 THE CRITICISM OF LITERATURE.
... materials with which the critic works . His main material is , of course , the book or the poem it- 12 Quoted by permission of Mr. de la Mare . self , and in the last analysis his criticism will 12 THE CRITICISM OF LITERATURE.
Sivu 27
... material meaning , but understand not their deeper import , " then his style must certainly be clear . That clarity will depend not only on the logical arrangement of ideas and the pellucid qual- ity of the vocabulary , but also on the ...
... material meaning , but understand not their deeper import , " then his style must certainly be clear . That clarity will depend not only on the logical arrangement of ideas and the pellucid qual- ity of the vocabulary , but also on the ...
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A. A. Milne æsthetic appeal Aristotle artist beauty biography century chapter character climax closet drama creative critic definite delight detail Dickens drama Dryden E. E. Cummings E. V. Lucas Elinor Wylie epic essay Essay on Criticism ethical expression fact familiar feeling free verse give harmony human humor iambic pentameter idea images imagination instance intellectual value interest interpretation Jane Austen Keats Letty lines literary literature lyric Macmillan material means merely metrical mind modern moral narrative nature never novel novelist Olivia Paradise Lost passage perhaps picture play pleasure plot poem poet poetic experience poetry present Psychology of Beauty purpose reader realistic realize rhyme rhythm scene sense Shakespeare Shelley Shelley's significance sometimes sound speech spirit stanza story structure style suggested symbol things thought tion true truth unity verse vision whole words Wordsworth writer
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Sivu 133 - While he from forth the closet brought a heap Of candied apple, quince, and plum, and gourd, With jellies soother than the creamy curd, And lucent syrops, tinct with cinnamon, Manna and dates, in argosy transferr'd From Fez, and spiced dainties, every one, From silken Samarcand to cedar'd Lebanon.
Sivu 149 - Fair daffodils, we weep to see You haste away so soon; As yet the early-rising sun Has not attained his noon. Stay, stay, Until the hasting day Has run But to the even-song; And, having prayed together, we Will go with you along.
Sivu 152 - Their dread commander : he, above the rest In shape and gesture proudly eminent, Stood like a tower : his form had yet not lost All her original brightness ; nor appeared Less than arch-angel ruined, and the excess Of glory obscured...
Sivu 104 - Poor vaunt of life indeed, Were man but formed to feed On joy, to solely seek and find and feast: Such feasting ended, then As sure an end to men; Irks care the crop-full bird? Frets doubt the mawcrammed beast? v Rejoice we are allied To That which doth provide And not partake, effect and not receive! A spark disturbs our clod; Nearer we hold of God Who gives, than of His tribes that take, I must believe.
Sivu 205 - All the earth and air With thy voice is loud, As, when night is bare, From one lonely cloud The moon rains out her beams, and Heaven is overflowed.
Sivu 342 - He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul, All the images of Nature were still present to him, and he drew them, not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too.
Sivu 361 - Out of the hills of Habersham, Down the valleys of Hall, I hurry amain to reach the plain, Run the rapid and leap the fall, Split at the rock and together again, Accept my bed, or narrow or wide, And flee from folly on every side With a lover's pain to attain the plain Far from the hills of Habersham, Far from the valleys of Hall. All down the hills of Habersham, All through the valleys of Hall, The rushes cried Abide, abide...
Sivu 153 - That on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky.
Sivu 154 - Of fruits, and flowers, and bunches of knot-grass, And diamonded with panes of quaint device, Innumerable of stains and splendid dyes, As are the tiger-moth's deep-damask'd wings; And in the midst, 'mong thousand heraldries, And twilight saints, and dim emblazonings, A shielded scutcheon blush'd with blood of queens and kings.
Sivu 130 - I need scarcely observe that a poem deserves its title only inasmuch as it excites by elevating the soul. The value of the poem is in the ratio of this elevating excitement. But all excitements are, through a psychal necessity, transient. That degree of excitement which would entitle a poem to be so called at all cannot be sustained throughout a composition of any great length. After the lapse of half an hour, at the very utmost, it flags, fails, a revulsion ensues ; and then the poem is, in effect...