Papers on Literature and Art, ÆÄÆ® 1-2Wiley and Putnam, 1846 |
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... present form has made such a differ- ence , that I have been obliged to drop most of the extracts from several of the pieces . Moreover , in approaching the end of the first number , I found myself obliged to omit more than half the ...
... present form has made such a differ- ence , that I have been obliged to drop most of the extracts from several of the pieces . Moreover , in approaching the end of the first number , I found myself obliged to omit more than half the ...
vi ÆäÀÌÁö
... present selection contains some of my earliest and some of my latest expressions . I have not put dates to any of the pieces , though , in the earlier , I see much crudity , which I seem to have outgrown now , just as I hope I shall ...
... present selection contains some of my earliest and some of my latest expressions . I have not put dates to any of the pieces , though , in the earlier , I see much crudity , which I seem to have outgrown now , just as I hope I shall ...
1 ÆäÀÌÁö
... research , no tim- idities of self - respect . They see no ideal beyond the present hour , which makes its mood an uncertain tenure . How things affect them now they know ; let the future , 2 A SHORT ESSAY ON CRITICS.
... research , no tim- idities of self - respect . They see no ideal beyond the present hour , which makes its mood an uncertain tenure . How things affect them now they know ; let the future , 2 A SHORT ESSAY ON CRITICS.
2 ÆäÀÌÁö
... present position commands the universe . Thus the essays on the works of others , which are called criti- cisms , are often , in fact , mere records of impressions . To judge of their value you must know where the man was brought up ...
... present position commands the universe . Thus the essays on the works of others , which are called criti- cisms , are often , in fact , mere records of impressions . To judge of their value you must know where the man was brought up ...
15 ÆäÀÌÁö
... present slight effort is not made with a view to the great and dramatic results so possible to the plan . It is intended chiefly as a setting to the Latin poems of Lord Herbert , which are known to few , a year ago , seemingly , were so ...
... present slight effort is not made with a view to the great and dramatic results so possible to the plan . It is intended chiefly as a setting to the Latin poems of Lord Herbert , which are known to few , a year ago , seemingly , were so ...
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admiration Ambla Artevelde artist Bach beauty Beethoven better breast brother calm character Charles Wesley charm child clavichord critic D©¡dalus deep delight divine drama earth expression eyes faith fancy feel felt flowers fugue genius give grace Handel happy harmony harpsichord Haydn hear heart heaven honour hope hour human intellectual interest John Sebastian less light literature lives look Lord Madame de Staël means measured music melody mind misanthropy Mozart muse nature never noble o'er Paracelsus passages passion perfect Philip Van Artevelde picture play pleasure poems poet poetic poetry present Prince reverence rich scene seems Senesino Shakspeare Sir James Mackintosh song soul speak spirit Strafford SWEDENBORGIANISM sweet sympathy taste tears tender thee things thou thought tion tone true truth verse whole wish words Wordsworth write
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71 ÆäÀÌÁö - What thou art we know not: What is most like thee ? From rainbow clouds there flow not Drops so bright to see, As from thy presence showers a rain of melody. Like a poet hidden In the light of thought, Singing hymns unbidden, Till the world is wrought To sympathy with hopes and fears it heeded not...
72 ÆäÀÌÁö - Teach us, sprite or bird, What sweet thoughts are thine: I have never heard Praise of love or wine That panted forth a flood of rapture so divine.
37 ÆäÀÌÁö - I was confirmed in this opinion, that he who would not be frustrate of his hope to write well hereafter in laudable things, ought himself to be a true poem...
40 ÆäÀÌÁö - In speech (which I have not) to make your will Quite clear to such an one, and say, "Just this "Or that in you disgusts me; here you miss, "Or there exceed the mark...
87 ÆäÀÌÁö - A grief without a pang, void, dark, and drear, A stifled, drowsy, unimpassioned grief, Which finds no natural outlet, no relief, In word, or sigh, or tear O Lady!
74 ÆäÀÌÁö - Round whose rude shaft dark ivy-tresses grew Yet dripping with the forest's noonday dew, Vibrated, as the ever-beating heart Shook the weak hand that grasped it; of that crew He came the last, neglected and apart; A herd-abandoned deer struck by the hunter's dart.
74 ÆäÀÌÁö - A love in desolation masked— a Power Girt round with weakness — it can scarce uplift The weight of the superincumbent hour ; It is a dying lamp, a falling shower, A breaking billow ; — even whilst we speak Is it not broken ? On the withering flower The killing sun smiles brightly ; on a cheek The life can burn in blood, even while the heart may break.
157 ÆäÀÌÁö - Rise the blue Franconian mountains, Nuremberg, the ancient, stands. Quaint old town of toil and traffic, quaint old town of art and song, Memories haunt thy pointed gables, like the rooks that round them throng: Memories of the Middle Ages, when the emperors, rough and bold, Had their dwelling in thy castle, time-defying, centuries old; And thy brave and thrifty burghers boasted, in their uncouth rhyme, That their great imperial city stretched its hand through every clime.
72 ÆäÀÌÁö - What objects are the fountains Of thy happy strain? What fields or waves or mountains? What shapes of sky or plain? What love of thine own kind? what ignorance of pain? With thy clear keen joyance Languor cannot be; Shadow of annoyance Never came near thee; Thou lovest, but ne'er knew love's sad satiety.
88 ÆäÀÌÁö - To lift the smothering weight from off my breast? It were a vain endeavour, Though I should gaze for ever On that green light that lingers in the west: I may not hope from outward forms to win The passion and the life, whose fountains are within.