Criticism: The Major TextsWalter Jackson Bate Harcourt, Brace, 1952 - 610 strani |
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Zadetki 1–3 od 76
Stran 246
... beauty was the supreme law of the imitative arts . This being established , it follows necessarily that whatever else these arts may aim at must give way completely if incompatible with beauty , and , if compatible , must at least be ...
... beauty was the supreme law of the imitative arts . This being established , it follows necessarily that whatever else these arts may aim at must give way completely if incompatible with beauty , and , if compatible , must at least be ...
Stran 361
... beauty arises only when what is being conceived is a universal form emerging through concrete diversity or " multëity . " On the other hand , beauty is not truth , as it was for Keats . Beauty is a way of approaching the true and the ...
... beauty arises only when what is being conceived is a universal form emerging through concrete diversity or " multëity . " On the other hand , beauty is not truth , as it was for Keats . Beauty is a way of approaching the true and the ...
Stran 375
... beauty . We will suppose it too at that time of his life , when his religious opinions , feelings , and prejudices most nearly co- incided with those of the rigid Anti - prelatists.- P. Beauty ; I am sure , it is not the beauty of holi ...
... beauty . We will suppose it too at that time of his life , when his religious opinions , feelings , and prejudices most nearly co- incided with those of the rigid Anti - prelatists.- P. Beauty ; I am sure , it is not the beauty of holi ...
Vsebina
INTRODUCTION | 3 |
CLASSICAL ANTIQUITY 13 33 | 13 |
Plato | 39 |
Avtorske pravice | |
22 preostalih delov ni prikazanih
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action admiration ancient Aristotle artist beauty believe Ben Jonson blank verse called 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 French genius give Goethe Greek hath Hazlitt Homer human I. A. Richards ideal ideas Iliad images imagination imitation Irving Babbitt kind knowledge language learning less literary literature living Matthew Arnold means ment mind modern Molière moral nature neoclassic neoclassicism never object original 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 Shakespeare Sophocles soul speak style sublime T. S. Eliot taste theory things thought tion tragedy true truth unity verse whole words Wordsworth writing