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 |
この書籍内から
検索結果1-5 / 22
3 ページ
... equally good of a Raphael as of a Milton ) is like a well cho- sen and well tended fruit tree . Its fruits are not of one season only . With the due and natural intervals , we may recur to it year after year , and it will sup- ply the ...
... equally good of a Raphael as of a Milton ) is like a well cho- sen and well tended fruit tree . Its fruits are not of one season only . With the due and natural intervals , we may recur to it year after year , and it will sup- ply the ...
42 ページ
... equally incapable of comprehending , both how it can be detached from his other powers , and how , being disparate in kind from the wit of contemporary dramatists , it can be compared with theirs in degree . And again —the detachment ...
... equally incapable of comprehending , both how it can be detached from his other powers , and how , being disparate in kind from the wit of contemporary dramatists , it can be compared with theirs in degree . And again —the detachment ...
52 ページ
... the manners suited to the court by two or three sacred beauties , and that a similar experience would be equally useful for his 1 initiation into the camp . Not a word of his 52 COURSE OF LECTURES . 52 Massinger Notes on Massinger.
... the manners suited to the court by two or three sacred beauties , and that a similar experience would be equally useful for his 1 initiation into the camp . Not a word of his 52 COURSE OF LECTURES . 52 Massinger Notes on Massinger.
53 ページ
... equally free from bookishness and from vulgarism , from the peculiarities of the School , and the transiencies of fashion , whether fine or coarse ; that the rhythm and metre are incomparably good , and form the very model of dramatic ...
... equally free from bookishness and from vulgarism , from the peculiarities of the School , and the transiencies of fashion , whether fine or coarse ; that the rhythm and metre are incomparably good , and form the very model of dramatic ...
55 ページ
... equally , sometimes un- equally . LECTURE VIII . Don Quixote . CERVANTES . ORN at LECTURE VII . 55 1185.
... equally , sometimes un- equally . LECTURE VIII . Don Quixote . CERVANTES . ORN at LECTURE VII . 55 1185.
他の版 - すべて表示
多く使われている語句
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
人気のある引用
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