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action active actual æsthetic ARNOLD artistic Ascham beauty become called character chiefly classical COLERIDGE composition conceit considered correct critical terms denoted DOWDEN DRYDEN effect eighteenth century employed English expression fact fancy feeling figurative force genius given gives Gosse harmony Hazlitt Hist human humour ideal images imagination imitation indicated intellectual intense invention JEFFREY Johnson judgment kind language latter less literary literature Lives London LOWELL manners meaning mental merely method mind moral nature occasionally original passion perhaps period poet poetical poetry Pope portion Positive present century principles produced propriety Prose referring regarded represented result romantic SAINTSBURY sense sensibility sentiment Shak simplicity sound style sublime Swin Swinburne taste theory things thought tion true truth unity usually verse VIII WARTON Wilson WORDSWORTH writer XVIII XXII
288 페이지 - Whatever is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.
157 페이지 - The primary Imagination I hold to be the living power and prime agent of all human perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM...
124 페이지 - By genius I would understand that power, or rather those powers of the mind, which are capable of penetrating into all things within our reach, and knowledge, and of distinguishing their essential differences. These are no other than invention and judgment; and they are both called by the collective name of Genius, as they are of those gifts of nature which we bring with us into the world.
64 페이지 - ... the design, the disposition, the manners, and the thoughts, are all before it; where any of those are wanting or imperfect, so much wants or is imperfect in the imitation of human life, which is in the very definition of a poem.
107 페이지 - So then the first happiness of the poet's imagination is properly invention, or finding of the thought; the second is fancy, or the variation, deriving, or moulding, of that thought, as the judgment represents it proper to the subject; the third is elocution, or the art of clothing and adorning that thought, so found and varied, in apt, significant, and sounding words : the quickness of the imagination is seen in the invention, the fertility in the fancy, and the accuracy in the expression.
290 페이지 - Milton is the extreme remoteness of the associations by means of which it acts on the reader. Its effect is produced, not so much by what it expresses, as by what it suggests ; not so much by the ideas which it directly conveys, as by other ideas which are connected with them. He electrifies the mind through conductors. The most unimaginative man must understand the Iliad.
151 페이지 - THE best division of human learning is that derived from the three faculties of the rational soul, which is the seat of learning. History has reference to the Memory, poesy to the Imagination, and philosophy to the Reason.
212 페이지 - Works, it is this, — that every Author, as far as he is great and at the same time original, has had the task of creating the taste by which he is to be enjoyed: so has it been, so will it continue to be.
164 페이지 - The artist must imitate that which is within the thing, that which is active through form and figure, and discourses to us by symbols - the Natur-geist, or spirit of nature, as we unconsciously imitate those whom we love; for so only can he hope to produce any work truly natural in the object and truly human in the effect.