A History of English Critical TermsHeath, 1898 - 345페이지 |
도서 본문에서
68개의 결과 중 1 - 5개
2 페이지
... portion of literature is the subject , the appropriated word or phrase is the predicate of the critical judgment . The attention is centred upon the subject of the judg- ment ; the predicate , or critical term , is , so far as re- lates ...
... portion of literature is the subject , the appropriated word or phrase is the predicate of the critical judgment . The attention is centred upon the subject of the judg- ment ; the predicate , or critical term , is , so far as re- lates ...
3 페이지
... some unified portion of literary work . On the other hand , the scientific type of judgment is an essential prerequisite for the development of the - æsthetic type . It continually presents possibilities for the INTRODUCTION . 3.
... some unified portion of literary work . On the other hand , the scientific type of judgment is an essential prerequisite for the development of the - æsthetic type . It continually presents possibilities for the INTRODUCTION . 3.
6 페이지
... portion of it , considered in its unity , furnishes a standard of reference by which the extent of the analysis can easily be determined . This differ- entiation of the subject may be roughly classed as of four general kinds . One of ...
... portion of it , considered in its unity , furnishes a standard of reference by which the extent of the analysis can easily be determined . This differ- entiation of the subject may be roughly classed as of four general kinds . One of ...
8 페이지
... portions of the Faery Queen which are not vital , which are , so to speak , excrementitious . DOWDEN , Tr . and Studies , p . 287 . Often some conception which is familiar in ordinary life is transferred by a bold figure of speech into ...
... portions of the Faery Queen which are not vital , which are , so to speak , excrementitious . DOWDEN , Tr . and Studies , p . 287 . Often some conception which is familiar in ordinary life is transferred by a bold figure of speech into ...
11 페이지
... portion of actual criticism , no overt critical judgment is expressed . These surrounding influences of the literary work are dwelt upon and analyzed . The literary production is discussed in its relation to the author , to the reader ...
... portion of actual criticism , no overt critical judgment is expressed . These surrounding influences of the literary work are dwelt upon and analyzed . The literary production is discussed in its relation to the author , to the reader ...
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2d Pt active actual criticism ADDISON æsthetic 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 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.
49 페이지 - 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 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.