A History of English Critical TermsHeath, 1898 - 345ÆäÀÌÁö |
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... effect , however partial or accidental , which the literary work produces upon the mind of the reader is made the predicate of the critical judgment , and thus seems to refer directly to the literary work itself . This it can do only in ...
... effect , however partial or accidental , which the literary work produces upon the mind of the reader is made the predicate of the critical judgment , and thus seems to refer directly to the literary work itself . This it can do only in ...
11 ÆäÀÌÁö
... effects produced in the mind of the reader ; from conceptions familiar in ordinary life ; and from terms brought over by analogy from the related arts . These influences continually furnish material for the critical judgment and give to ...
... effects produced in the mind of the reader ; from conceptions familiar in ordinary life ; and from terms brought over by analogy from the related arts . These influences continually furnish material for the critical judgment and give to ...
12 ÆäÀÌÁö
... effects without any definite standard of comparison . E. g.:- The effect of Virgil's poetry is like that of some laborious mosaic of many years ' putting together . CARLYLE , Hist . of Lit. , p . 53 . It is evident that such statements ...
... effects without any definite standard of comparison . E. g.:- The effect of Virgil's poetry is like that of some laborious mosaic of many years ' putting together . CARLYLE , Hist . of Lit. , p . 53 . It is evident that such statements ...
40 ÆäÀÌÁö
... or phrase that has been sup- planted by something less apt , but has not become unintelli- gible . LOWELL , IV . , p . 247 . ¬â¬à¬Ö ୮ The natural effect of archaisms on pathetic passages is 40 A HISTORY OF ENGLISH CRITICAL TERMS .
... or phrase that has been sup- planted by something less apt , but has not become unintelli- gible . LOWELL , IV . , p . 247 . ¬â¬à¬Ö ୮ The natural effect of archaisms on pathetic passages is 40 A HISTORY OF ENGLISH CRITICAL TERMS .
41 ÆäÀÌÁö
Jeremiah Wesley Bray. ୮ The natural effect of archaisms on pathetic passages is to make them sweeter and simpler , by making them more childlike . MINTO , Char . of Eng . Poets , p . 26 . Architectonics ( XXIII . ) : M. Arnold ...
Jeremiah Wesley Bray. ୮ The natural effect of archaisms on pathetic passages is to make them sweeter and simpler , by making them more childlike . MINTO , Char . of Eng . Poets , p . 26 . Architectonics ( XXIII . ) : M. Arnold ...
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2d Pt active actual criticism ADDISON ©¡sthetic ARISTOTLE ARNOLD artistic Ascham to present beauty CARLYLE character chiefly classical COLERIDGE composition conception critical terms denoted DOWDEN DRYDEN effect eighteenth century emotion employed English criticism expression Faery Queen fancy feeling Fiction genius GOLDSMITH Gosse Gothic HALLAM harmony HAZLITT Hist humor ideal imagery images imagination imitation intellectual invention J. A. SYMONDS JEFFREY JOHNSON judgment LANDOR language latter portion literary literature LOWELL lyrical manners meaning mental mental imagery method Milton mind moral nature ornament passion PATER picturesque poem poet poetical poetry Pope predicate present century produced propriety Prose PUTTENHAM QUINCEY QUINTILIAN represented Rhet romantic ROSSETTI RYMER SAINTSBURY sense sensibility sentiment SHAFTESBURY Shak Shakespeare simplicity STEDMAN style sublime Swin Swinburne taste thought tion truth unity usually verse VIII WARTON WEBBE WHIPPLE WILSON words WORDSWORTH XVIII XXII
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288 ÆäÀÌÁö - 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.
49 ÆäÀÌÁö - I am certain of nothing but of the holiness of the Heart's affections and the truth of Imagination— What the imagination seizes as Beauty must be truth— whether it existed before or not...
157 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - ... 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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.