Criticism: The Major TextsWalter Jackson Bate Harcourt, Brace, 1952 - 610 Seiten |
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Seite 264
... effect , by more ways than are gen- erally employed by architects . To pass over the effect produced by that gen- eral symmetry and proportion , by which the eye is delighted , as the ear is with music , archi- tecture certainly ...
... effect , by more ways than are gen- erally employed by architects . To pass over the effect produced by that gen- eral symmetry and proportion , by which the eye is delighted , as the ear is with music , archi- tecture certainly ...
Seite 353
... effect or impression - we read it ( as would be neces- sary ) at a single sitting , the result is but a con- stant alternation of excitement and depression . After a passage of what we feel to be true poetry , there follows , inevitably ...
... effect or impression - we read it ( as would be neces- sary ) at a single sitting , the result is but a con- stant alternation of excitement and depression . After a passage of what we feel to be true poetry , there follows , inevitably ...
Seite 433
... effect than a constant con- junction of events : poetry is ever found to co- exist with whatever other arts contribute to the happiness and perfection of man . I appeal to what has already been established to distinguish between the ...
... effect than a constant con- junction of events : poetry is ever found to co- exist with whatever other arts contribute to the happiness and perfection of man . I appeal to what has already been established to distinguish between the ...
Inhalt
INTRODUCTION | 3 |
CLASSICAL ANTIQUITY | 9 |
Horace | 49 |
Urheberrecht | |
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action admiration ancient appear Aristotle artist beauty believe Ben Jonson blank verse century character Chaucer classical Coleridge comedy common criticism delight distinction drama Dryden effect Eliot emotion English epic Epic poetry essay Euripides example excellent expression feeling genius give Goethe Greek hath Hazlitt Homer human I. A. Richards ideal ideas Iliad images imagination imitation Irving Babbitt Johnson kind knowledge language learning less literary literature living Matthew Arnold means ment mind modern moral nature neoclassic neoclassicism never object particular passion perfect perhaps persons philosopher Plato play pleasure poem Poesy poet poetic poetry Pope present principles produced prose reader reason rhyme romantic romanticism rules Sainte-Beuve scenes sense sentiments Shakespeare Sophocles soul speak style sublime T. S. Eliot taste theory things thought tion tragedy true truth ture unity verse whole words Wordsworth writing