European Literature in the Nineteenth Century |
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Page 16
... lyrical writing with descrip- tive passionate sonnets , which belonged to the old Marini - Arcadia tradition , relinquishing this to place himself under the guidance of " the profound master of gentle love , " Petrarch . But taking his ...
... lyrical writing with descrip- tive passionate sonnets , which belonged to the old Marini - Arcadia tradition , relinquishing this to place himself under the guidance of " the profound master of gentle love , " Petrarch . But taking his ...
Page 43
... lyrical poems , of which the best are the philosophical , because the absent poetical vein is there compensated by the importance of the thoughts expounded , and the lack of the personal note in their form by their clarity of design and ...
... lyrical poems , of which the best are the philosophical , because the absent poetical vein is there compensated by the importance of the thoughts expounded , and the lack of the personal note in their form by their clarity of design and ...
Page 61
... lyrical poem , because the fabulous or pro- digious elements , from which it is woven or which are interlinked within it , make no difference whatever in respect to art . For this reason , Peter Schlemihl is a little master- piece , and ...
... lyrical poem , because the fabulous or pro- digious elements , from which it is woven or which are interlinked within it , make no difference whatever in respect to art . For this reason , Peter Schlemihl is a little master- piece , and ...
Page 89
... was due the didacticism which insinuates itself into the lofty lyrical poetry of the Sepulchres and prevents the Graces from becoming more than sketches and fragments . Contemporary Italian literary criticism has given Foscolo 89.
... was due the didacticism which insinuates itself into the lofty lyrical poetry of the Sepulchres and prevents the Graces from becoming more than sketches and fragments . Contemporary Italian literary criticism has given Foscolo 89.
Page 123
... as a dogma believed and inculcated in its objective form , and in its sub- jective form , as though it were an epigraph upon his own life , henceforth closed . It would seem that here too there can be no true lyrical quality , Leopardi 123.
... as a dogma believed and inculcated in its objective form , and in its sub- jective form , as though it were an epigraph upon his own life , henceforth closed . It would seem that here too there can be no true lyrical quality , Leopardi 123.
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Adelchi admiration æsthetic Alfieri altogether amorous appears artistic avait Balzac Baudelaire beauty become Carducci certainly character cœur comic criticism death described desire drama dream elle emotion eternal evil expressed eyes feeling femme Fernán Caballero Flaubert Foscolo Georges Sand German Goethe heart Hedda Gabler Heine history of poetry human Ibsen ideal images imagination inspiration Italian Italian literature Italy Kleist lack lament Lélia Leopardi literary literature lyrical Madame Bovary Manzoni means Menander mind Monti moral Musset narrative nature never novels observed passion Peer Gynt Penthesilea personages Peter Schlemihl philosophical pity pleasure poems poet poetical poetry political possessed Promessi Sposi prose readers reality reason religious remains romance satirical Schiller seems sense sensual social sometimes sort soul spirit Stendhal story style sublime things thought tion tone tout tragedy true verism verse Vigny wish woman words writers yeux youth Zola
Popular passages
Page 62 - Seemed to have known a better day; The harp, his sole remaining joy, Was carried by an orphan boy. The last of all the bards was he, Who sung of Border chivalry. For, well-a-day! their date was fled, His tuneful brethren all were dead ; •And he, neglected and...
Page 62 - IF thou would'st view fair Melrose aright, Go visit it by the pale moon-light; For the gay beams of lightsome day Gild, but to flout, the ruins gray. When the broken arches are black in night, And each shafted oriel glimmers white; When the cold light's uncertain shower Streams on the ruined central tower; When buttress and buttress, alternately, Seem framed of ebon and ivory; When silver edges the imagery, And the scrolls...
Page 283 - Pensive, s'asseyait à l'écart sur un banc, Pour entendre un de ces concerts, riches de cuivre, Dont les soldats parfois inondent nos- jardins-, Et qui, dans ces soirs d'or où l'on se sent revivre, Versent quelque héroïsme au cœur des citadins.
Page 4 - Sì, dolce sposo (ch'io già tal ti appello), Se cosa io mai ferventemente al mondo Bramai, di partir teco al nuovo sole Tutta ardo, e il voglio.
Page 282 - Reviennent, parfumés d'une odeur de futailles, Suivis de compagnons blanchis dans les batailles, Dont la moustache pend comme les vieux drapeaux ; Les bannières, les fleurs et les arcs triomphaux Se dressent devant eux, solennelle magie!
Page 134 - Ta pensée a des bonds comme ceux des gazelles. Mais ne saurait marcher sans guide et sans appui. Le sol meurtrit ses pieds, l'air fatigue ses ailes, Son œil se ferme au jour dès que le jour a lui ; Parfois, sur les hauts lieux d'un seul élan posée, Troublée au bruit des vents, ta mobile pensée Ne peut seule y veiller sans crainte et sans ennui.
Page 62 - When the cold light's uncertain shower Streams on the ruined central tower; When buttress and buttress, alternately, Seem framed of ebon and ivory ; When silver edges the imagery, And the scrolls that teach thee to live and die...
Page 125 - J'ai marché devant tous, triste et seul dans ma gloire, Et j'ai dit dans mon cœur : Que vouloir à présent...
Page 283 - Ils rampent, flagellés par les bises iniques, Frémissant au fracas roulant des omnibus, Et serrant sur leur flanc, ainsi que des reliques, Un petit sac brodé de fleurs ou de rébus...
Page 15 - Sotto la man de' fabri Volto e vigor prendevano I massi informi e scabri Ubbidiente e docile II bronzo...