A History of Criticism and Literary Taste in Europe from the Earliest Texts to the Present Day: Modern criticism. Appendix I. The Oxford chair of poetry. Appendix II. American criticismW. Blackwood and Sons, 1904 |
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A History of Criticism and Literary Taste in Europe from the Earliest Texts ... George Saintsbury Obegränsad förhandsgranskning - 1904 |
A History of Criticism and Literary Taste in Europe from the Earliest Texts ... George Saintsbury Obegränsad förhandsgranskning - 1904 |
A History of Criticism and Literary Taste in Europe from the Earliest Texts ... George Saintsbury Obegränsad förhandsgranskning - 1904 |
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actual Addison admirable æsthetic ancient appear Aristotle Arnold beauty century certainly Chateaubriand cism classical Coleridge course curious Dante deal Diderot doubt Dryden earlier early edition eighteenth English especially Essays fact famous fashion faults French genius German give Goethe greatest Hazlitt Hugo Hurd important influence interesting judgment kind later least Lectures Leigh Hunt less Lessing's letters literary criticism literature Littéraires Littérature Longinus Lyrical Ballads Madame de Staël matter mediæval merely metre Milton modern Molière Neo-classic Neo-classicism never notice Novalis once original passage perhaps person philosophical poem poet poetic poetry Preface principle prose prosody pure reader remarkable Romantic Romanticism Sainte-Beuve Schlegel seems sense Shakespeare shows sometimes Spenser style taste theory things thought tion UNIV verse Victor Hugo vols Voltaire volume Warton whole words Wordsworth writer
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Sida 205 - DURING the first year that Mr. Wordsworth and I were neighbours, our conversations turned frequently on the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of imagination.
Sida 273 - Poetry is the record of the best and happiest moments of the happiest and best minds.
Sida 209 - It may be safely affirmed that there neither is, nor can be, any essential difference between the language of prose and metrical composition.
Sida 247 - ... the utterance of a passion for truth, beauty, and power, embodying and illustrating its conceptions by imagination and fancy, and modulating its language on the principle of variety in uniformity.
Sida 207 - 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.
Sida 516 - Their theory and practice alike, the admirable treatise of Aristotle, and the unrivalled works of their poets, exclaim with a thousand tongues — ' All depends upon the subject ; choose a fitting action, penetrate yourself with the feeling of its situations ; this done, everything else will follow.
Sida 67 - But it is absurd to think of judging either Ariosto or Spenser by precepts which they did not attend to. We who live in the days of writing by rule, are apt to try every composition by those laws which we have been taught to think the sole criterion of excellence.
Sida 207 - Finally, GOOD SENSE is the BODY of poetic genius, FANCY itS DRAPERY, MOTION itS LIFE, and IMAGINATION the SOUL that is everywhere, and in each; and forms all into one graceful and intelligent whole.
Sida 202 - I am willing to allow that in order entirely to enjoy the Poetry which I am recommending it would be necessary to give up much of what is ordinarily enjoyed.
Sida 607 - Criticism is the endeavour to find, to know, to love, to recommend, not only the best, but all the good, that has been known and thought and written in the world.