The Criticism of LiteratureMacmillan, 1928 - 397 sivua |
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Tulokset 1 - 5 kokonaismäärästä 92
Sivu 14
... valuable to know the social and historical background of the story as well as that of the book . For example , fuller appreciation of George Eliot's Romola will come to those who know something 14 THE CRITICISM OF LITERATURE.
... valuable to know the social and historical background of the story as well as that of the book . For example , fuller appreciation of George Eliot's Romola will come to those who know something 14 THE CRITICISM OF LITERATURE.
Sivu 15
... story and who do not know the Puritanism and the humanism of the seventeenth century . Paradise Lost and Absalom and Achitophel and The Rape of the Lock will not be any less great as poems if we are ignorant of the historical and social ...
... story and who do not know the Puritanism and the humanism of the seventeenth century . Paradise Lost and Absalom and Achitophel and The Rape of the Lock will not be any less great as poems if we are ignorant of the historical and social ...
Sivu 34
... stories with giants in them , or young girls devouring the latest lurid and impossible romances of desert life , or philosophers absorbed in Nietszche , or Santayana , or Havelock Ellis . If the author had no other characteristic than ...
... stories with giants in them , or young girls devouring the latest lurid and impossible romances of desert life , or philosophers absorbed in Nietszche , or Santayana , or Havelock Ellis . If the author had no other characteristic than ...
Sivu 36
... story or content can be as close to one's every interest as is consistent with the purpose of the artist . . . . In short , it is by increasing our knowledge of the formal elements of art that we find our solution for the dilemma . " 3 ...
... story or content can be as close to one's every interest as is consistent with the purpose of the artist . . . . In short , it is by increasing our knowledge of the formal elements of art that we find our solution for the dilemma . " 3 ...
Sivu 43
... stories in verse . We make a few changes of phrase here , such as the ad- dition of " moving pictures " to ... story , the sentimental commonplaces of some contemporary verse , the novelty of form and subject- matter in other ...
... stories in verse . We make a few changes of phrase here , such as the ad- dition of " moving pictures " to ... story , the sentimental commonplaces of some contemporary verse , the novelty of form and subject- matter in other ...
Muita painoksia - Näytä kaikki
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...