The Complete Works of Samuel Taylor Coleridge: With an Introductory Essay Upon His Philosophical and Theological Opinions, 第 4 巻Harper & Brothers, 1854 |
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21 ページ
... mere didactics of practice , or evaporated into a hazy , unthought- ful day - dreaming ; and the third condition , passion provides that neither thought nor imagery shall be simply objective , but that the passio vera of humanity shall ...
... mere didactics of practice , or evaporated into a hazy , unthought- ful day - dreaming ; and the third condition , passion provides that neither thought nor imagery shall be simply objective , but that the passio vera of humanity shall ...
22 ページ
... mere opposition to the finite in * Sir John Davies on the Immortality of the Soul , sect . iv . The words and lines in italics are substituted to apply these verses to the poetic ge- nius . The greater part of this latter paragraph may ...
... mere opposition to the finite in * Sir John Davies on the Immortality of the Soul , sect . iv . The words and lines in italics are substituted to apply these verses to the poetic ge- nius . The greater part of this latter paragraph may ...
24 ページ
... mere instrument . But as tragedy is not a collection of virtues and perfections , but takes care only that the vices and imperfections shall spring from the passions , errors , and prejudices which arise out of the soul ; - neither is ...
... mere instrument . But as tragedy is not a collection of virtues and perfections , but takes care only that the vices and imperfections shall spring from the passions , errors , and prejudices which arise out of the soul ; - neither is ...
26 ページ
... mere mortal life , and force us into a presentiment , how- ever dim , of a state in which those struggles of inward free will with outward necessity , which form the true subject of the trage- dian , shall be reconciled and solved ...
... mere mortal life , and force us into a presentiment , how- ever dim , of a state in which those struggles of inward free will with outward necessity , which form the true subject of the trage- dian , shall be reconciled and solved ...
28 ページ
... mere vehicle for articulation , and as little pleasure is lost by ignorance of the Italian language , so is little gained by the knowledge of it . But in the Greek drama all was but as in- struments and accessories to the poetry ; and ...
... mere vehicle for articulation , and as little pleasure is lost by ignorance of the Italian language , so is little gained by the knowledge of it . But in the Greek drama all was but as in- struments and accessories to the poetry ; and ...
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admirable appear Beaumont and Fletcher beauty Ben Jonson cause character Coleridge comedy common Don Quixote drama effect especially excellent excitement express exquisite fancy feeling genius give Greek Hamlet hath Hence human humor Iago idea images imagination imitation individual instance intellect interest Jonson judgment Juliet king language latter Lear Lecture less Love's Labor's Lost Macbeth means metre Milton mind moral nature never object observe original Othello pantheism Paradise Lost passage passion perfect perhaps persons philosophic Plato play pleasure poem poet poetic poetry Polonius present principle produced reader reason religion Richard III Roman Romeo Romeo and Juliet S. T. COLERIDGE scene Schlegel sense Shak Shakspeare Shakspeare's Shaksperian soul speech spirit style supposed taste thing thou thought tion tragedy Trochee true truth understanding unity verse Warburton's whole words writers
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120 ページ - This royal throne of kings, this scepter'd isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by Nature for herself Against infection and the hand of war, This happy breed of men, this little world, This precious stone set in the silver sea...
81 ページ - Subtle as sphinx ; as sweet, and musical, As bright Apollo's lute, strung with his hair ; And, when love speaks, the voice of all the gods Makes heaven drowsy with the harmony.
172 ページ - It will have blood, they say ; blood will have blood : Stones have been known to move, and trees to speak ; Augurs, and understood relations, have By magot-pies, and choughs, and rooks, brought forth The secret'st man of blood.
114 ページ - tis not so deep as a well, nor so wide as a church-door ; but 'tis enough, 'twill serve : ask for me tomorrow, and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o...
105 ページ - Julius bleed for justice' sake? What villain touch'd his body, that did stab, And not for justice? What, shall one of us, That struck the foremost man of all this world, But for supporting robbers; shall we now Contaminate our fingers with base bribes? And sell the mighty space of our large...
363 ページ - Earth fills her lap with pleasures of her own; Yearnings she hath in her own natural kind, And, even with something of a mother's mind And no unworthy aim, The homely nurse doth all she can To make her foster-child, her inmate, Man, Forget the glories he hath known And that imperial palace whence he came. Behold the Child among his newborn blisses, A six years
163 ページ - That we would do, We should do when we would, for this 'would' changes, And hath abatements and delays as many As there are tongues, are hands, are accidents; And then this 'should' is like a spendthrift sigh, That hurts by easing.
22 ページ - ... while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry.
102 ページ - So soon as that spare Cassius. He reads much; He is a great observer and he looks Quite through the deeds of men: he loves no plays, As thou dost, Antony; he hears no music...
55 ページ - The form is mechanic, when on any given material we impress a pre-determined form, not necessarily arising out of the properties of the material; — as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form, on the other hand, is innate; it shapes, as it developes, itself from within, and the fulness of its development is one and the same with the perfection of its outward form.