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Page 2
... poetic critic is criticising poetry in order to create poetry . ' These separate and distinct kinds , he considers , are but rarely found to - day , even in a fragmentary form ; where they do exist , they are almost invariably mingled ...
... poetic critic is criticising poetry in order to create poetry . ' These separate and distinct kinds , he considers , are but rarely found to - day , even in a fragmentary form ; where they do exist , they are almost invariably mingled ...
Page 5
... poetic imagination . And partly because the foundation was truly Aristote- lian , partly because Coleridge had known what it was to be a great poet , the reference to life pervades the whole of what is permanently valuable in ...
... poetic imagination . And partly because the foundation was truly Aristote- lian , partly because Coleridge had known what it was to be a great poet , the reference to life pervades the whole of what is permanently valuable in ...
Page 10
... poet's art is needed . Therefore a criticism which is based on the Greek view is impelled to assign to art a place , the place of sovereignty in its scheme of values . That Plato himself did not do this was due to his having ...
... poet's art is needed . Therefore a criticism which is based on the Greek view is impelled to assign to art a place , the place of sovereignty in its scheme of values . That Plato himself did not do this was due to his having ...
Page 11
... poetic genius is never purely lyrical , and why the greatest lyrics are as often as not the work of poets who are only ... poet and has to smuggle the anomalous Aristotle in on the hardly convincing ground that ' he wrote well about ...
... poetic genius is never purely lyrical , and why the greatest lyrics are as often as not the work of poets who are only ... poet and has to smuggle the anomalous Aristotle in on the hardly convincing ground that ' he wrote well about ...
Page 12
... poet who would be a critic has to make his æsthetic philosophy conscious to himself ; to him as a poet it may be unconscious . This necessary change from unconsciousness to consciousness is by no means easy , and we should do well to ...
... poet who would be a critic has to make his æsthetic philosophy conscious to himself ; to him as a poet it may be unconscious . This necessary change from unconsciousness to consciousness is by no means easy , and we should do well to ...
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Common terms and phrases
achievement æsthetic Aiken Anatole France apprehension argument Aristotle artist attitude avant toute chose beauty believe Butler Charles Sorley Coleridge Coleridge's comprehension consciousness Constance Garnett conviction creative death dream emotion English essay essential experience express eyes fact feel Flesh Function of Criticism genius GERALD GOULD Hardy Hardy's poetry heart human Hyperion ideal imagination infinitely intuition Jean-Jacques Keats Keats's kind Lake of Bienne language less letters lines literary criticism literature living logic lyrical manifest Masefield melody merely mind modern moral never novel ourselves passionate perhaps philosophic critic poem poet poet's principles prose recognise rhythm Ronsard Rousseau Samuel Butler seems sense Shakespeare Sidney Colvin SIR ALFRED SCOTT-GATTY Sir Sidney sonnets Sorley soul spirit stand strange T. S. Eliot Tchehov things Thomas Hardy thought tion true truth unity verse vision whole wisdom wise word Wordsworth writer written wrote
Popular passages
Page 62 - I caught this morning morning's minion, kingdom of daylight's dauphin, dapple-dawn-drawn Falcon, in his riding Of the rolling level underneath him steady air, and striding High there, how he rung upon the rein of a wimpling wing In his ecstasy! then off, off forth on swing, As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding Rebuffed the big wind. My heart in hiding Stirred for a bird,— the achieve of, the mastery of the thing!
Page 150 - purge off, Benign, if so it please thee, my mind's film.' 'None can usurp this height,' returned that shade, 'But those to whom the miseries of the world Are misery, and will not let them rest.
Page 59 - I wake and feel the fell of dark, not day. What hours, O what black hours we have spent This night! what sights you, heart, saw; ways you went! And more must, in yet longer light's delay.
Page 69 - Hyperion" — there were too many Miltonic inversions in it — Miltonic verse cannot be written but in an artful, or, rather, artist's humour. I wish to give myself up to other sensations. English ought to be kept up.
Page 189 - A second promise of genius is the choice of subjects very remote from the private interests and circumstances of the writer himself. At least I have found that where the subject is taken immediately from the author's personal sensations and experiences, the excellence of a particular poem is but an equivocal mark, and often a fallacious pledge, of genuine poetic power.
Page 45 - I KNOW that I shall meet my fate Somewhere among the clouds above ; Those that I fight I do not hate, Those that I guard I do not love ; My country is Kiltartan Cross, My countrymen Kiltartan's poor, No likely end could bring them loss Or leave them happier than before. Nor law, nor duty bade me fight, Nor public men, nor cheering crowds, A lonely impulse of delight...
Page 75 - By an immortal sickness which kills not ; It works a constant change, which happy death Can put no end to ; deathwards progressing To no death...
Page 125 - We stood by a pond that winter day, And the sun was white, as though chidden of God, And a few leaves lay on the starving sod; — They had fallen from an ash, and were gray.
Page 58 - But as air, melody, is what strikes me most of all in music and design in painting, so design, pattern or what I am in the habit of calling 'inscape' is what I above all aim at in poetry. Now it is the virtue of design, pattern, or inscape to be distinctive and it is the vice of distinctiveness to become queer. This vice I cannot have escaped.
Page 75 - The lily and the snow ; and beyond these I must not think now, though I saw that face. But for her eyes I should have fled away ; They held me back with a benignant light, Soft, mitigated by divinest lids Half-clos'd, and visionless entire they seem'd Of all external things...