The Critical Principles of Orestes A. Brownson, by Virgil G. Michel ...Catholic University of America, 1918 - 106 strani |
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Stran 13
... beauty ( xix 339 ) . The impelling power of a work of art is due to the appeal it makes to mankind . This appeal is not to be had from beauty of form alone , and each work must contain something beyond that exerts the desired influence ...
... beauty ( xix 339 ) . The impelling power of a work of art is due to the appeal it makes to mankind . This appeal is not to be had from beauty of form alone , and each work must contain something beyond that exerts the desired influence ...
Stran 14
... beauty , and can- not elevate the mind . It is terrible rather than beautiful and leaves no aspirations to anything higher ( xix 49 , 339 ) : it does not uplift and therefore runs counter to the purpose of all art . Of course such facts ...
... beauty , and can- not elevate the mind . It is terrible rather than beautiful and leaves no aspirations to anything higher ( xix 49 , 339 ) : it does not uplift and therefore runs counter to the purpose of all art . Of course such facts ...
Stran 20
... beauty ' - always towards the accomplishment of some end for which writing , literature , is indispensable as a means ( xix 19 ) . Then , and then only , will the result be real literature , real art . To such a degree must his cause ...
... beauty ' - always towards the accomplishment of some end for which writing , literature , is indispensable as a means ( xix 19 ) . Then , and then only , will the result be real literature , real art . To such a degree must his cause ...
Stran 26
... beauty and literary taste by means of which he tried to gain his end ( xix 366 ) . Considered in connection with this end , every feature of the work becomes a matter of importance . Separately , indeed , the form has little value ; but ...
... beauty and literary taste by means of which he tried to gain his end ( xix 366 ) . Considered in connection with this end , every feature of the work becomes a matter of importance . Separately , indeed , the form has little value ; but ...
Stran 28
... beauty expressed in a work of art , this does not refer to any beauty of individual details , but applies rather to the work of art considered as a whole , in its totality ( xix 3 ) . A work of art is nothing if it is not a compact ...
... beauty expressed in a work of art , this does not refer to any beauty of individual details , but applies rather to the work of art considered as a whole , in its totality ( xix 3 ) . A work of art is nothing if it is not a compact ...
Pogosti izrazi in povedi
aesthetic principles agree with Brownson appeal art xix artistic activity artistic genius artistic intuition beautiful xix beholders Biographia Literaria Boston Brother Azarias Catholic World common concept considered critic Croce Douglas Ainslie Dublin Review eral Essays essence of art ethics Everyman's Library exists exterior form external form fact faculty false form of art Francis Thompson give Goethe Hence higher human interest human nature human race Ibid idea ideal identical Imagist imitation individual influence inspiration instinctive intellect internal expression judge latter literary artist Lyrical Ballads mankind means mental vision merely mind moral necessary notion object ontological ordinary Orestes persons philosophy Plato poet poetry positive presence of artistic Princeton Review production proper prose question reader reason relation religious novel Review says sense sensibility sentiments social society soul spirit spiritual worthiness supernatural taste theory thought tion true art truth tuition universal viewpoint words writer York
Priljubljeni odlomki
Stran 93 - Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.
Stran 68 - Do more bewitch me, than when art Is too precise in every part.
Stran 79 - ... that architectural conception of work, which foresees the end in the beginning and never loses sight of it, and in every part is conscious of all the rest, till the last sentence does but, with undiminished vigour, unfold and justify the first...
Stran 62 - Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings, and also experience them.
Stran 93 - Poet to possess, there cannot be a doubt that the language which it will suggest to him, must often, in liveliness and truth, fall short of that which is uttered by men in real life, under the actual pressure of those passions, certain shadows of which the Poet thus produces, or feels to be produced, in himself.
Stran 51 - ... whatever is worth doing at all is worth doing well.
Stran 67 - One man opposing another determines nothing ; but a general union of minds, like a general combination of the forces of all mankind, makes a strength that is irresistible.
Stran 80 - Thought and speech are inseparable from each other. Matter and expression are parts of one; style is a thinking out into language. This is what I have been laying down, and this is literature: not things, not the verbal symbols of things; not on the other hand mere words, but thoughts expressed in language. Call to mind...
Stran 80 - grand style," and essays on style continue to be written, like the old "arts of poetry" of two centuries ago. But the theory of styles has no longer a real place in modern thought; we have learned that it is no less impossible to study style as separate from the work of art than to study the comic as separate from the work of the comic artist.
Stran 83 - ... for the creation of a master-work of literature two powers must concur, the power of the man and the power of the moment...