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 7
... racter of the author , not the class to which the work belongs . Blest indeed is that state of society , in which the immediate purpose would be baffled by the perversion of the proper ulti- mate end ; in which no charm of diction or ...
... racter of the author , not the class to which the work belongs . Blest indeed is that state of society , in which the immediate purpose would be baffled by the perversion of the proper ulti- mate end ; in which no charm of diction or ...
Side 150
... racter of a poet ; and without incurring another defect which I shall now mention , and a suffi- cient illustration of which will have been here anticipated . Third ; an undue predilection for the dramatic form in certain poems , from ...
... racter of a poet ; and without incurring another defect which I shall now mention , and a suffi- cient illustration of which will have been here anticipated . Third ; an undue predilection for the dramatic form in certain poems , from ...
Side 281
... racter raves , and the scolding character scolds- and what else ? Does not the Prior act ? Does he not send for a possee of constables or thief- takers to handcuff the villain , and take him either to Bedlam or Newgate ? Nothing of the ...
... racter raves , and the scolding character scolds- and what else ? Does not the Prior act ? Does he not send for a possee of constables or thief- takers to handcuff the villain , and take him either to Bedlam or Newgate ? Nothing of the ...
Side 282
Or, Biographical Sketches of My Literary Life and Opinions Samuel Taylor Coleridge. racter , and the scolding Prior from first to last does nothing but scold , with the exception in- deed of the last scene of the last act , in which with ...
Or, Biographical Sketches of My Literary Life and Opinions Samuel Taylor Coleridge. racter , and the scolding Prior from first to last does nothing but scold , with the exception in- deed of the last scene of the last act , in which with ...
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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
Populære passager
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.