Studies in Criticism and AestHoward Anderson U of Minnesota Press - 419 Seiten |
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Seite 19
... objects please our eyes , Which out of nature's common order rise , The shapeless rock , or hanging precipice . Great Wits sometimes may gloriously offend , And rise to faults true Critics dare not mend . ( 11 . 156-60 ) A quarter of a ...
... objects please our eyes , Which out of nature's common order rise , The shapeless rock , or hanging precipice . Great Wits sometimes may gloriously offend , And rise to faults true Critics dare not mend . ( 11 . 156-60 ) A quarter of a ...
Seite 20
... objects — though , in its place , he did not disdain particular imitation of that kind . His genius , however , lay in finding musical equivalents for moods , emotions , scenes coming to him in verbal form . Thus , in the aria mentioned ...
... objects — though , in its place , he did not disdain particular imitation of that kind . His genius , however , lay in finding musical equivalents for moods , emotions , scenes coming to him in verbal form . Thus , in the aria mentioned ...
Seite 27
... object here as there : to be real but not realistic , natural but not naturalistic — " the artifice of eternity , " the mind's embodiment . " Objects , " Shenstone wrote , " should indeed be less calculated to strike the immediate eye ...
... object here as there : to be real but not realistic , natural but not naturalistic — " the artifice of eternity , " the mind's embodiment . " Objects , " Shenstone wrote , " should indeed be less calculated to strike the immediate eye ...
Seite 30
... . This art only partly represents nature . " Sculpture , " Reynolds pronounces , " is formal , regular , and austere ; dis- dains all familiar objects , as incompatible with its dignity 30 · STUDIES IN CRITICISM AND AESTHETICS.
... . This art only partly represents nature . " Sculpture , " Reynolds pronounces , " is formal , regular , and austere ; dis- dains all familiar objects , as incompatible with its dignity 30 · STUDIES IN CRITICISM AND AESTHETICS.
Seite 31
Howard Anderson. dains all familiar objects , as incompatible with its dignity , and is an enemy to every species of affectation . . . . In short , whatever partakes of fancy or caprice , or goes under the denomination of Picturesque ...
Howard Anderson. dains all familiar objects , as incompatible with its dignity , and is an enemy to every species of affectation . . . . In short , whatever partakes of fancy or caprice , or goes under the denomination of Picturesque ...
Inhalt
3 | |
13 | |
36 | |
Chaucer in Drydens Fables | 58 |
Shaftesbury and the Age of Sensibility | 73 |
Addison on Ornament and Poetic Style | 94 |
Relativism and An Essay on Criticism | 128 |
Popes Definition of His Art | 140 |
Humes Of Criticism | 232 |
William Warburton as New Critic | 249 |
The Naked Science of Language 17471786 | 266 |
Imlac and the Business of a Poet | 296 |
The Comic Syntax of Tristram Shandy | 315 |
Reynolds and the Art of Characterization | 332 |
Gainsboroughs Prospect Animated Prospect | 358 |
A Revolution in Dispute | 380 |
Art and Reality in Pope and Gray | 156 |
Thomsons Poetry of Space and Time | 176 |
The Reach of Art in Augustan Poetic Theory | 193 |
Philosophical Language and the Theory of Beauty in the Eighteenth Century | 213 |
A List of Books Articles and Reviews Published | 401 |
Index | 403 |
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Häufige Begriffe und Wortgruppen
Addison admire aesthetic aestheticians Alexander Pope ancient appears artist Augustan Baroque beauty character Chaucer classical colors conception criticism Discourse doctrine Dryden Dunciad effect eighteenth century emotions English Epistle Erminia Essay Essay on Criticism example expression fiction Gainsborough genius Georgics Guercino Horace human Hume Ibid ideal ideas imagination imitation John Dryden Johnson judgment kind landscape language lines literary literature London Longinus Lyrical Ballads M. H. Abrams means metaphor Milton mind modern moral nature neoclassical Neoclassicism objects observed ornament Ovid painter painting passage passions pastoral philosophical picture pleasure poem poet poetic poetry Pope Pope's portrait praise Preface principle reader reason remarks Reynolds Reynolds's rhetoric Romantic satire says seems sense Shaftesbury shepherd simplicity Spectator style sublime suggest taste theory things Thomas Gainsborough thought tion tradition Tristram Shandy true truth ture Twickenham universal Warburton words Wordsworth writing
Beliebte Passagen
Seite 312 - The remotest discoveries of the chemist, the botanist, or mineralogist, will be as proper objects of the poet's art as any upon which it can be employed, if the time should ever come when these things shall be familiar to us, and the relations under which they are contemplated by the followers of these respective sciences shall be manifestly and palpably material to us as enjoying and suffering beings.
Seite 312 - If the labours of Men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the Poet will sleep then no more than at present; he will be ready to follow the steps of the Man of science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of the science itself.
Seite 203 - All the images of Nature were still present to him, and he drew them, not laboriously, but luckily; when he describes anything, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read Nature; he looked inwards, and found her there.
Seite 151 - A cherub's face, a reptile all the rest; Beauty that shocks you, Parts that none will trust, Wit that can creep, and Pride that licks the dust. Not Fortune's worshipper, nor Fashion's fool, Not Lucre's madman, nor Ambition's tool...
Seite 316 - I WISH either my father or my mother, or indeed both of them, as they were in duty both equally bound to it, had minded what they were about when they begot me...
Seite 198 - There are, indeed, but very few who know how to be idle and innocent, or have a relish of any pleasures that are not criminal; every diversion they take is at the expense of some one virtue or another, and their very first step out of business is into vice or folly.
Seite 296 - All the appearances of nature I was therefore careful to study, and every country which I have surveyed has contributed something to my poetical powers.