 The art of the pen (we write on darkness) is to rouse the inward vision, instead of labouring with a drop-scene brush, as if it were to the eye ; because our flying minds cannot contain a protracted description. That is why the poets, who spring imagination...  The Harvard Monthly - Stran 951896Celotni ogled - O knjigi
 | Arthur Symons - 1886 - 248 strani
...in. "The art of the pen (we write on darkness) is to rouse the inward vision, instead of labouring with a Drop-scene brush, as if it were to the eye...because our flying minds cannot contain a protracted description. That is why the poets who spring imagination with a word or a phrase paint lasting pictures.... | |
 | George Meredith - 1888 - 420 strani
...landscapes. The art of the pen (we write on darkness) is to rouse the inward vision, instead of labouring with a drop-scene brush, as if it were to the eye...because our flying minds cannot contain a protracted description. That is why the poets, who spring imagination with a word or a phrase, paint lasting pictures.... | |
 | Richard Le Gallienne - 1890 - 278 strani
...the pen," says Diana, in a well-known passage, " is to rouse the inward vision, instead of labouring with a drop-scene brush, as if it were to the eye...because our flying minds cannot contain a protracted description. That is why the poets, who spring imagination with a word or phrase, paint lasting pictures.... | |
 | George Meredith - 1897 - 550 strani
...landscapes. The art of the pen (we write on darkness) is to rouse the inward vision, instead of labouring with a Drop-scene brush, as if it were to the eye...because our flying minds cannot contain a protracted description. That is why the poets, who spring imagination with a word or a phrase, paint lasting pictures.... | |
 | George Meredith - 1897 - 542 strani
...landscapes. The art of the pen (we write on darkness) is to rouse the inward vision, instead of labouring with a Drop-scene brush, as if it were to the eye...because our flying minds cannot contain a protracted description. That is why the poets, who spring imagination with a word or a phrase, paint lasting pictures.... | |
 | George Meredith - 1897 - 524 strani
...landscapes. The art of the pen (we write on darkness) is to rouse the inward vision, instead of labouring with a Drop-scene brush, as if it were to the eye...because our flying minds cannot contain a protracted description. That is why the poets, who spring imagination with a word or a phrase, paint lasting pictures.... | |
 | George Meredith - 1897 - 442 strani
...landscapes. The art of the pen (we write on darkness) is to rouse the inward vision, instead of labouring with a Drop-scene brush, as if it were to the eye...because our flying minds cannot contain a protracted description. That is why the poets, who spring imagination with a word or a phrase, paint lasting pictures.... | |
 | William Basil Worsfold - 1897 - 310 strani
...objected that such lengthy descriptions are inartistic ; that, in the words of Mr. Meredith himself, ' The art of the pen is to rouse the inward vision instead of labouring with a drop-scene brush,' I reply, ' True ; but whether the pen may be said to labour or... | |
 | George Meredith - 1897 - 546 strani
...landscapes. The art of the pen (we write pn darkness) is to rouse the inward vision, instead of labouring with a Drop-scene brush, as if it were to the eye ; because 6uT flying minds cannot contain a protracted description. That" is why the poets, who spring imagination... | |
 | George Meredith - 1897 - 434 strani
...The art _of the pen (we write on dark-) ness) is to rouse the inward) vision, instead of labouring with a Drop-scene brush, as if it were to the eye; because aur flying minds cannot contain a protracted description. —•'• That is why the poets, who spring... | |
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