A History of English Romanticism in the Eighteenth Century |
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Page 4
... style which distinguish classic from romantic art ; and they have applied the words accordingly to work which is not necessarily either antique or medieval in subject . Thus it is assumed , for example , that the productions of Greek ...
... style which distinguish classic from romantic art ; and they have applied the words accordingly to work which is not necessarily either antique or medieval in subject . Thus it is assumed , for example , that the productions of Greek ...
Page 5
... style upon is a classic . * Contrariwise the word romantic , as popularly em- ployed , expresses a shade of disapprobation . The * Un classique est tout artiste à l'école de qui nous pouvons nous mettre sans craindre que ses leçons ou ...
... style upon is a classic . * Contrariwise the word romantic , as popularly em- ployed , expresses a shade of disapprobation . The * Un classique est tout artiste à l'école de qui nous pouvons nous mettre sans craindre que ses leçons ou ...
Page 6
... style of the Christian and popular literature of the Middle Ages , as opposed to the clas- sical antique . " The etymology of romance is familiar . The various dialects which sprang from the corrup- tion of the Latin were called by the ...
... style of the Christian and popular literature of the Middle Ages , as opposed to the clas- sical antique . " The etymology of romance is familiar . The various dialects which sprang from the corrup- tion of the Latin were called by the ...
Page 17
... style are strength of grasp , with clearness and justice of presentment ; the virtues of the other style are glow of spirit , with magic and richness of suggestion . " Mr. Colvin then goes on to enforce and illustrate this con- trast ...
... style are strength of grasp , with clearness and justice of presentment ; the virtues of the other style are glow of spirit , with magic and richness of suggestion . " Mr. Colvin then goes on to enforce and illustrate this con- trast ...
Page 18
... styles , Mr. Col- vin puts side by side passages from " The Ancient Mariner " and Keats ' " Ode to a Nightingale , " with passages , treating similar themes , from Landor's " Gebir " and " Imaginary Conversations . " The con- trast ...
... styles , Mr. Col- vin puts side by side passages from " The Ancient Mariner " and Keats ' " Ode to a Nightingale , " with passages , treating similar themes , from Landor's " Gebir " and " Imaginary Conversations . " The con- trast ...
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Common terms and phrases
Addison Aella Akenside ancient antiquity ballads bard beauty blank verse Byron Canto Castle of Otranto Chatterton Chaucer Chevy Chase Child Waters chivalry classical Collins critics dramatic Dryden edition eighteenth century Elegy England English poetry Essay Faërie Queene fiction French Gaelic garden genius German ghost Gothic Gothic architecture Gray Gray's Grongar Hill heroic Highlands Homer imagination imitations Johnson Joseph Warton Keats language letters Lewis literary literature London MacPherson's manner manuscript medieval Middle Ages Milton Minstrel modern Monk muse Mysteries of Udolpho nature night old English original Ossian passage passion Percy Percy's pieces poetic poets Pope Pope's popular preface prose published reader Reliques revival rhyme romantic movement romanticism Rowley poems says Scott sentiment Shakspere Shenstone song Spenser Spenserian spirit stanza story style Sweet William's Ghost taste Thomas Warton Thomson thought tion tragedy translation Walpole Walpole's wild words writes written wrote
Popular passages
Page 117 - His gardens next your admiration call, On every side you look, behold the wall! No pleasing intricacies intervene, No artful wildness to perplex the scene; Grove nods at grove, each alley has a brother, And half the platform just reflects the other.
Page 269 - In behint yon auld fail dyke, I wot there lies a new-slain Knight ; And naebody kens that he lies there, But his hawk, his hound, and lady fair. ' His hound is to the hunting gane, His hawk to fetch the wild-fowl hame, His lady's ta'en another mate, So we may mak our dinner sweet. ' Ye'll sit on his white hause-bane, And I'll pick out his bonny blue een : Wi' ae lock o' his gowden hair We'll theek our nest when it grows bare.
Page 127 - Whether to plant a walk in undulating curves, and to place a bench at every turn where there is an object to catch the view; to make water run where it will be heard, and to stagnate where it will be seen...
Page 301 - I have seen the walls of Balclutha, but they were desolate. The fire had resounded in the halls : and the voice of the people is heard no more. The stream of Clutha was removed from its place by the fall of the walls. The thistle shook, there, its lonely head : the moss whistled to the wind. The fox looked out from the windows, the rank grass of the wall waved round his head. Desolate is the dwelling of Moina, silence is in the house of her fathers.
Page 91 - It was, I ween, a lovely spot of ground; And there a season atween June and May, Half...
Page 230 - I waked one morning in the beginning of last June from a dream, of which all I could recover was, that I had thought myself in an ancient castle (a very natural dream for a head filled like mine with Gothic story) and that on the uppermost bannister of a great staircase I saw a gigantic hand in armour. In the evening I sat down and began to write, without knowing in the least what I intended to say or relate.
Page 109 - The lamb thy riot dooms to bleed today, Had he thy reason, would he skip and play? Pleased to the last, he crops the flowery food, And licks the hand just raised to shed his blood.
Page 143 - Phlegra with the heroic race were joined That fought at Thebes and Ilium, on each side Mixed with auxiliar gods ; and what resounds In fable or romance of Uther's son Begirt with British and Armoric knights ; And all who since, baptized or infidel, Jousted in Aspramont, or Montalban, Damasco, or Marocco, or Trebisond, Or whom Biserta sent from Afric shore, When Charlemain with all his peerage fell By Fontarabbia.
Page 39 - O could I flow like thee, and make thy stream My great example, as it is my theme! Though deep, yet clear, though gentle, yet not dull, Strong without rage, without o'er-flowing full.
Page 293 - I do not think that there is an able Writer in verse of the present day who would not be proud to acknowledge his obligations to the Reliques ; I know that it is so with my friends ; and, for myself, I am happy in this occasion to make a public avowal of my own.