Criticism: The Major TextsWalter Jackson Bate Harcourt, Brace, 1952 - 610 strani |
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Zadetki 1–3 od 70
Stran 247
... artist subordinate it to his general purpose , and not pursue it further than truth and expression allow . Enough that truth and expression convert what is unsightly in na- ture into a beauty of art . Allowing this idea to pass ...
... artist subordinate it to his general purpose , and not pursue it further than truth and expression allow . Enough that truth and expression convert what is unsightly in na- ture into a beauty of art . Allowing this idea to pass ...
Stran 516
... artistic impression is so united to the artist that he feels as if the work were his own and not someone else's as if what it ex- presses were just what he had long been wish- ing to express . A real work of art destroys , in the ...
... artistic impression is so united to the artist that he feels as if the work were his own and not someone else's as if what it ex- presses were just what he had long been wish- ing to express . A real work of art destroys , in the ...
Stran 520
... artist to have his eye con- centrated on his subject . His aim should be to determine what is essential in it , and to draw out this essential character into intense and impassioned expression . To Eliot , the objectivity desired ...
... artist to have his eye con- centrated on his subject . His aim should be to determine what is essential in it , and to draw out this essential character into intense and impassioned expression . To Eliot , the objectivity desired ...
Vsebina
Horace | 49 |
Longinus | 59 |
THE RENAISSANCE RESTATEMENT | 77 |
Avtorske pravice | |
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action admiration ancient appear Aristotle artist beauty believe Ben Jonson blank verse century character Chaucer classical Coleridge comedy common criticism delight distinction drama Dryden effect Eliot emotion English epic Epic poetry essay Euripides example excellent expression feeling genius give Goethe Greek hath Hazlitt Homer human I. A. Richards ideal ideas Iliad images imagination imitation Irving Babbitt Johnson kind knowledge language learning less literary literature living Matthew Arnold means ment mind modern moral nature neoclassic neoclassicism never object particular passion perfect perhaps persons philosopher Plato play pleasure poem Poesy poet poetic poetry Pope present principles produced prose reader reason rhyme romantic romanticism rules Sainte-Beuve scenes sense sentiments Shakespeare Sophocles soul speak style sublime T. S. Eliot taste theory things thought tion tragedy true truth ture unity verse whole words Wordsworth writing