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Coleridge's Principles of Criticism: Chapters I., III., IV., XIV.-XXII of ...
Samuel Taylor Coleridge,Andrew Jackson George
Obegränsad förhandsgranskning - 1904
admiration appear attention beautiful become Book cause Chap CHAPTER character characteristic Coleridge common composition continued conversation criticism defects diction effect English equally Essays excellence excitement expression fact feelings former genius give given greater ground hand heart human images imagination imitation instance interest judgment kind language least less light lines literary living mark matter meaning merit metre Milton mind nature never object once original pass passages passion perhaps philosophical pleasure poems poet poetic poetry possess possible Prefaces present principles produced prose reader reason reference reflection result Review says seems sense Sonnet Southey speak spirit stanzas strong Studies style taste things thou thought tion true truth universal verse whole words Wordsworth writings
Sida 48 - Ballads? 5 in which it was agreed that my endeavours should be directed to persons and characters supernatural, or at least romantic ; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension «° of disbelief for the moment, which constitutes poetic faith.
Sida 121 - The dew shall weep thy fall to-night ; For thou must die. Sweet Rose, whose hue, angry and brave, Bids the rash gazer wipe his eye, Thy root is ever in its grave, And thou must die. Sweet Spring, full of sweet days and roses, A box where sweets compacted lie, My music shows ye have your closes, And all must die.
Sida 86 - At her feet he bowed he fell, he lay down at her feet he bowed, he fell where he bowed, there he fell down dead...
Sida 47 - In the one, the incidents and agents were to be, in part at least, supernatural ; and the excellence aimed at, was to consist in the interesting of the affections by the dramatic truth of such emotions, as would naturally accompany such situations, supposing them real.
Sida 48 - Wordsworth, on the other hand, was to propose to himself, as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us...
Sida 96 - By bud of nobler race: this is an art Which does mend nature, change it rather, but The art itself is nature.
Sida 62 - Saturn laugh'd and leap'd with him. Yet nor the lays of birds nor the sweet smell Of different flowers in odour and in hue Could make me any summer's story tell, Or from their proud lap pluck them where they grew ; Nor did I wonder at the lily's white, Nor praise the deep vermilion in the rose : They were but sweet, but figures of delight, Drawn after you, you pattern of all those. Yet seem'd it winter still, and, you away, As with your shadow I with these did play.
Sida 62 - And peace proclaims olives of endless age. Now with the drops of this most balmy time My love looks fresh, and Death to me subscribes, Since, spite of him, I'll live in this poor rhyme, While he insults o'er dull and speechless tribes: And thou in this shalt find thy monument, When tyrants' crests and tombs of brass are spent.
Sida 52 - A poem is that species of composition which is opposed to works of science, by proposing for its immediate object pleasure, not truth; and from all other species (having this object in common with it) it is discriminated by proposing to itself such delight from the whole as is compatible with a distinct gratification from each component part.