Biographia Literaria: Or, Biographical Sketches of My Literary Life and Opinions, Bind 2Rest Fenner, 23, Paternoster Row, 1817 - 309 sider |
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Side 9
... lines or distichs , each of which absorbing the whole attention of the reader to itself disjoins it from its context , and makes it a separate whole , instead of an harmonizing part ; and on the other hand , to an unsustained ...
... lines or distichs , each of which absorbing the whole attention of the reader to itself disjoins it from its context , and makes it a separate whole , instead of an harmonizing part ; and on the other hand , to an unsustained ...
Side 18
... lines for instance , there is nothing objectionable , nothing which would preclude them from forming , in their proper place , part of a descriptive poem : " Behold yon row of pines , that shorn and bow'd Bend from the sea - blast ...
... lines for instance , there is nothing objectionable , nothing which would preclude them from forming , in their proper place , part of a descriptive poem : " Behold yon row of pines , that shorn and bow'd Bend from the sea - blast ...
Side 27
... lines and expression , with which the objects are represented . Hence novelty of sub- ject was rather avoided than sought for . Su- perior excellence in the manner of treating the same subjects was the trial and test of the ar- tist's ...
... lines and expression , with which the objects are represented . Hence novelty of sub- ject was rather avoided than sought for . Su- perior excellence in the manner of treating the same subjects was the trial and test of the ar- tist's ...
Side 41
... lines of difference con- verge as to their source and centre . ( I mean , as far as , and in whatever respect , my poetic creed does differ from the doctrines promulged in this preface . ) I adopt with full faith the principle of ...
... lines of difference con- verge as to their source and centre . ( I mean , as far as , and in whatever respect , my poetic creed does differ from the doctrines promulged in this preface . ) I adopt with full faith the principle of ...
Side 46
... lines of the tenth ; and the five following stanzas , with the exception of the four admirable lines at the commencement of the fourteenth are felt by many unprejudiced and unsophisticated hearts , as sudden and unplea- " I've measured ...
... lines of the tenth ; and the five following stanzas , with the exception of the four admirable lines at the commencement of the fourteenth are felt by many unprejudiced and unsophisticated hearts , as sudden and unplea- " I've measured ...
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admiration Aldobrand ANSW appear beauty Bertram blank verse character child common composition conversation critic Cuxhaven DANE defect delight diction drama Edinburgh Review effect Elbe English equally excellence excitement expression feelings former French genius German German language greater Greek ground guage Hamburg heart human imagery images imagination imitation instance interest judgement Klopstock lady language least less lines low and rustic Lubec Lyrical Ballads MADRIGALE Martha Ray means ment metre metrical Milton mind moral nature object odes passage passion perhaps person philosophical Pindar pleasure poem poet poet's poetic poetry present prose racter Ratzeburg reader reason rhyme S. T. COLERIDGE scene seemed sense sentences Shakespeare Sonnet soul specimens spirit stanzas style surprize sweet sympathy taste thing thou thought tion tragedy truth Venus and Adonis verse whole wish words Wordsworth writers
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Side 12 - ... reveals itself in the balance or reconciliation of opposite or discordant qualities: of sameness, with difference; of the general, with the concrete; the idea, with the image; the individual, with the representative; the sense of novelty and freshness, with old and familiar objects; a more than usual state of emotion, with more than usual order...
Side 67 - But nature makes that mean: so, over that art Which you say adds to nature, is an art That nature makes. You see, sweet maid, we marry A...
Side 52 - Accordingly, such a language, arising out of repeated experience and regular feelings, is a more permanent, and a far more philosophical language, than that which is frequently substituted for it by Poets...
Side 38 - Humble and rustic life was generally chosen, because, in that condition, the essential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings co-exist in a state of greater simplicity, and, consequently, may be more accurately contemplated, and more forcibly communicated; because the manners of rural life germinate from those elementary feelings,...
Side 2 - In the one, the incidents and agents were to be, in part at least, supernatural; and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions as would naturally accompany such situations, supposing them real.
Side 18 - It has been before observed that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant passion; or by associated thoughts or images awakened by that passion...
Side 139 - While he was talking thus, the lonely place, The old Man's shape, and speech, all troubled me: In my mind's eye I seemed to see him pace About the weary moors continually, Wandering about alone and silently.
Side 174 - And not in utter nakedness, But trailing clouds of glory do we come From God who is our home: Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing boy ; But he beholds the light, and whence it flows, He sees it in his joy ! The youth who daily further from the east Must travel, still is nature's priest, And by the vision splendid Is on his way attended ; At length the man perceives it die away, And fade into the light of common day.
Side 20 - ... with him: Yet nor the lays of birds, nor the sweet smell Of different flowers in odour and in hue, Could make me any summer's story tell, Or from their proud lap pluck them where they grew : Nor did I wonder at the lily's white, Nor praise the deep vermilion in the rose ; They were but sweet, but figures of delight, Drawn after you ; you pattern of all those. Yet seem'd it winter still, and, you away, As with your shadow I with these did play : XCIX.
Side 64 - And it would be a most easy task to prove to him, that not only the language of a large portion of every good poem, even of the most elevated character, must necessarily, except with reference to the metre, in no respect differ from that of good prose, but likewise that some of the most interesting parts of the best poems will be found to be strictly the language of prose when prose is well written.