The Criticism of LiteratureMacmillan, 1928 - 397 sivua |
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Tulokset 1 - 5 kokonaismäärästä 36
Sivu 8
... objects of his study , rather than to praise or blame them , . . . to identify the species and then ex- plain how and where the specimen is imperfect and irregular . " But this process is merely that of pasting labels . Even the ...
... objects of his study , rather than to praise or blame them , . . . to identify the species and then ex- plain how and where the specimen is imperfect and irregular . " But this process is merely that of pasting labels . Even the ...
Sivu 11
... object , unless the book is utterly bad . Coleridge has a sage word on this subject : " To the young I would re- mark that it is always unwise to judge of anything by its defects : the first attempt ought to be to discover its ...
... object , unless the book is utterly bad . Coleridge has a sage word on this subject : " To the young I would re- mark that it is always unwise to judge of anything by its defects : the first attempt ought to be to discover its ...
Sivu 35
... object , regardless of its effect upon the beholder or the hearer ; others think it is the effect of the object . Whichever way we regard it , the ultimate problem is the same . We use the adjective beautiful for various things : for ...
... object , regardless of its effect upon the beholder or the hearer ; others think it is the effect of the object . Whichever way we regard it , the ultimate problem is the same . We use the adjective beautiful for various things : for ...
Sivu 36
... object that is too close to our daily activities , we do not call that object beautiful . Hence we often find in realism interest but not beauty . But , as has been said , " The experienced art lover is able to keep his [ æsthetic ] ...
... object that is too close to our daily activities , we do not call that object beautiful . Hence we often find in realism interest but not beauty . But , as has been said , " The experienced art lover is able to keep his [ æsthetic ] ...
Sivu 39
... object is such that it con- stitutes the permanent possibility for this reconcilia- tion . " " Thus the Nature of Beauty is in the relation of means to an end ; the means , the possibilities of stimula- tion in the motor , visual ...
... object is such that it con- stitutes the permanent possibility for this reconcilia- tion . " " Thus the Nature of Beauty is in the relation of means to an end ; the means , the possibilities of stimula- tion in the motor , visual ...
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Yleiset termit ja lausekkeet
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...