Notes and Lectures Upon Shakespeare and Some of the Old Poets and Dramatists: With Other Literary Remains of S.T. Coleridge, 第 2 巻W. Pickering, 1849 |
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... distinguished from the magic and magicians of Asiatic origin . The probable sources of the former , and of the belief in them in certain ages and classes of men . Criteria by which mistaken and exaggerated facts may be distinguished ...
... distinguished from the magic and magicians of Asiatic origin . The probable sources of the former , and of the belief in them in certain ages and classes of men . Criteria by which mistaken and exaggerated facts may be distinguished ...
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... distinguished from mytho- logy as reality from symbol ; it is , in short , the pro- per intermedium between person and personifica- tion . Where it is too strongly individualized , it ceases to be allegory ; this is often felt in the ...
... distinguished from mytho- logy as reality from symbol ; it is , in short , the pro- per intermedium between person and personifica- tion . Where it is too strongly individualized , it ceases to be allegory ; this is often felt in the ...
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... distinguished from the ab ovo birth and parentage , or straight line , of history . 2. As to the subject . In Homer , the supposed importance of the sub- ject , as the first effort of confederated Greece , is an after - thought of the ...
... distinguished from the ab ovo birth and parentage , or straight line , of history . 2. As to the subject . In Homer , the supposed importance of the sub- ject , as the first effort of confederated Greece , is an after - thought of the ...
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... It is the figured language of thought , and is distinguished from nature by the unity of all the parts in one thought or idea . Hence nature itself would give us the impression of a work of art if we LECTURE XIII . 159.
... It is the figured language of thought , and is distinguished from nature by the unity of all the parts in one thought or idea . Hence nature itself would give us the impression of a work of art if we LECTURE XIII . 159.
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... distinguished from that in man , by the co - instantaneity of the plan and the execution ; the thought and the product are one , or are given at once ; but there is no reflex act , and hence there is no moral responsibility . In man ...
... distinguished from that in man , by the co - instantaneity of the plan and the execution ; the thought and the product are one , or are given at once ; but there is no reflex act , and hence there is no moral responsibility . In man ...
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ÆSCHYLUS allegory ancient Greece Beaumont and Fletcher beauty Ben Jonson cause Cervantes character Christian Coleridge common contemplated Crusoe Dante devil distinct divine Don Quixote dramatic effect evil excellence excite existence express exquisite fact Faery Queene fancy feeling former genius give Gothic Greece Greek Hence human humour idea images imagination imitate individual instance intellect interest Italy Jonson judgment language latter least Lecture less Massinger means Milton mind moral natura naturans nature never nomos object observe original pantheism Paradise Lost particular passage passion perfect perhaps person philosophy Plato pleasure poem poet poetry polytheism present principle produced Quixote's Rabelais racter reader reason religion romance S. T. COLERIDGE Sancho sensation sense Shakspeare Shakspeare's soul sound Spenser spirit style symbolical taste thing thou thought tion Tom Jones true truth understanding unity verse whole words writers
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86 ページ - I'll not hurt thee, says my uncle Toby, rising from his chair, and going across the room, with the fly in his hand, I'll not hurt a hair of thy head: — Go, says he, lifting up the sash, and opening his hand as he spoke, to let it escape; — go, poor devil, get thee gone, why should I hurt thee? — This world surely is wide enough to hold both thee and me.
34 ページ - Upon the top of all his loftie crest, A bounch of heares discolourd diversly, With sprincled pearle and gold full richly drest, Did shake. and seemd to daunce for jollity, Like to an almond tree ymounted hye On top of greene Selinis all alone, With blossoms brave bedecked daintily ; Whose tender locks do tremble every one At everie little breath that under heaven is blowne.
173 ページ - He was a shepherd, and no mercenarie. And though he holy were, and vertuous, He was to sinful men not dispitous, Ne of his speche dangerous ne digne, But in his teching discrete and benigne.
121 ページ - Time serves not now, and perhaps I might seem too profuse to give any certain account of what the mind at home, in the spacious circuits of her musing, hath liberty to propose to herself, though of highest hope and hardest attempting; whether that epic form whereof the two poems of Homer and those other two of Virgil and Tasso are a diffuse, and the book of Job a brief model...
169 ページ - Its first delightfulness is simple accordance with the ear; but it is an associated thing, and recalls the deep emotions of the past with an intellectual sense of proportion. Every human feeling is greater and .! larger than the exciting cause, — a proof, I think, j\ that man is designed for a higher state of existence ; •' and this is deeply implied in music, in which there is always something more and beyond the immediate expression.
78 ページ - So in every human body, The choler, melancholy, phlegm and blood, By reason that they flow continually In some one part, and are not continent, Receive the name of humours. Now thus far, .'• ' It may, by metaphor, apply itself Unto the general disposition...
170 ページ - In order to derive pleasure from the occupation of the mind, the principle of unity must always be present, so that in the midst of the multeity the centripetal force be never suspended, nor the sense be fatigued by the predominance of the centrifugal force. This unity in multeity I have elsewhere stated as the principle of beauty. It is equally the source of pleasure in variety, and in fact a higher term including both. What is the seclusive or distinguishing term between them? " Remember that there...
163 ページ - If the artist copies the mere nature, the natura naturata, what idle rivalry! If he proceeds only from a given form, which is supposed to answer to the notion of beauty, what an emptiness, what an unreality there always is in his productions, as in Cipriani's pictures!
57 ページ - The Symbolical cannot, perhaps, be better defined in distinction from the Allegorical, than that it is always itself a part of that, of the whole of which it is the representative. " Here comes a sail "—that is, a ship,—is a symbolical expression.
11 ページ - ... When I enter a Greek Church, my eye is charmed, and my mind elated ; I feel exalted, and proud that I am a man. But the Gothic art is sublime. On entering a cathedral, I am filled with devotion and with awe ; I am lost to the actualities that surround me, and my whole being expands into the infinite ; earth and air, nature and art, all swell up into eternity, and the only sensible impression left, is