A History of English Critical TermsHeath, 1898 - 345 páginas |
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Términos y frases comunes
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
Pasajes populares
Página 288 - 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.
Página 49 - 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...
Página 157 - 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...
Página 124 - 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.
Página 64 - ... 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.
Página 107 - 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.
Página 290 - 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.
Página 151 - 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.
Página 212 - 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.
Página 164 - 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.