Principles of Literary Criticism |
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Page 12
... discuss æsthetics as appertaining to the province of judgment , the middle one of these three , the first and last having already occupied him in his two other Critiques of Pure and Practical Reason respectively . The effect was ...
... discuss æsthetics as appertaining to the province of judgment , the middle one of these three , the first and last having already occupied him in his two other Critiques of Pure and Practical Reason respectively . The effect was ...
Page 14
... discussing a different collection of things from those we intended to discuss . But the problem remains - Is there any such thing as the aesthetic state , or any æsthetic character of experiences which is sui generis ? Not many explicit ...
... discussing a different collection of things from those we intended to discuss . But the problem remains - Is there any such thing as the aesthetic state , or any æsthetic character of experiences which is sui generis ? Not many explicit ...
Page 20
... discussing works of art . become so accustomed to them that even when we are aware that they are ellipses , it is easy to forget the fact . And it has been extremely difficult in many cases to discover that any ellipsis is present . We ...
... discussing works of art . become so accustomed to them that even when we are aware that they are ellipses , it is easy to forget the fact . And it has been extremely difficult in many cases to discover that any ellipsis is present . We ...
Page 21
... discussion of works of art the drag exercised by language towards this view can be felt . It per- ceptibly increases ... discussing music , poetry , painting , sculpture or architecture , we are forced to speak as though certain physical ...
... discussion of works of art the drag exercised by language towards this view can be felt . It per- ceptibly increases ... discussing music , poetry , painting , sculpture or architecture , we are forced to speak as though certain physical ...
Page 22
... discuss time in music , form in visual art , plot in drama , the fact that he is all the while talking about mental happen- ings becomes concealed . The verbal apparatus comes between us and the things with which we ( are really dealing ...
... discuss time in music , form in visual art , plot in drama , the fact that he is all the while talking about mental happen- ings becomes concealed . The verbal apparatus comes between us and the things with which we ( are really dealing ...
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Common terms and phrases
A. C. Bradley activity actual æsthetic experience analysis appear appetencies arise Aristotle artist attitudes Beauty become behaviour belief C. K. OGDEN cause Chapter character Clive Bell Coleridge colour communication confusion connection consciousness course critical theory criticism definite degree depends difficult discussion effects elements emotion example explain fact feeling further G. E. Moore human I. A. RICHARDS imagery images imagination important impulses instance involved judge judgment kind less matter Matthew Arnold means mental event merely metre metrists mind moral nature object onomatopoeia organisation peculiar perhaps periences persons picture pleasure poem poet poetic experience poetry possible present problem psychology reader reading reasons recognised reference relations remarks response rhythm sensations sense sensory sound stimulus systematisation theory of value things thought tion Tragedy true ulterior ends unconscious usually valuable varied visual W. H. R. RIVERS whole words
Popular passages
Page 240 - The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other, according to their relative worth and dignity. He diffuses a tone, and spirit of unity that blends, and (as it were) fuses, each into each, by that synthetic and magical power, to which we have exclusively appropriated the name of imagination.
Page 205 - SOLE listener, Duddon ! to the breeze that played With thy clear voice, I caught the fitful sound Wafted o'er sullen moss and craggy mound — Unfruitful solitudes, that seemed to upbraid The sun in heaven ! — but now, to form a shade For Thee, green alders have together wound Their foliage ; ashes flung their arms around ; And birch-trees risen in silver colonnade.
Page 69 - Fear and trembling Hope, Silence and Foresight; Death the Skeleton And Time the Shadow ; — there to celebrate, As in a natural temple scattered o'er With altars undisturbed of mossy stone, United worship ; or in mute repose To lie, and listen to the mountain flood Murmuring from Glaramara's inmost caves.
Page 256 - In the objects of nature are presented, as in a mirror, all the possible elements, steps, and processes of intellect antecedent to consciousness, and therefore to the full development of the intelligential act; and man's mind is the very focus of all the rays of intellect which are scattered throughout the images of nature.
Page 265 - A statement may be used for the sake of the reference, true or false, which it causes. This is the scientific use of language. But it may also be used for the sake of the effects in emotion and attitude produced by the reference it occasions. This is the emotive use of language.
Page 66 - The whole objection, however, of the immorality of poetry rests upon a misconception of the manner in which poetry acts to produce the moral improvement of man. Ethical science arranges the elements which poetry has created, and propounds schemes and proposes examples of civil and domestic life: nor is it for want of admirable doctrines that men hate, and despise, and censure, and deceive, and subjugate one another. But poetry acts in another and diviner manner. It awakens and enlarges the mind itself...
Page 244 - Tragedy is only possible to a mind which is for the moment agnostic or Manichean. The least touch of any theology which has a compensating Heaven to offer the tragic hero is fatal.
Page 44 - I, too, dislike it: there are things that are important beyond all this fiddle. Reading it, however, with a perfect contempt for it, one discovers in it, after all, a place for the genuine. Hands that can grasp, eyes that can dilate, hair that can rise if it must, these things are important not because a high-sounding interpretation can be put upon them but because they are useful.
Page 268 - This he knew, but to entertain the audience with something new and surprising, against common sense and Nature, he would pass upon us a close, dissembling, false, insinuating rascal, instead of an open-hearted, frank, plain-dealing soldier, a character constantly worn by them for some thousands of years in the world.
Page 124 - Thus piteously Love closed what he begat: The union of this ever-diverse pair! These two were rapid falcons in a snare, Condemned to do the flitting of the bat. Lovers beneath the singing sky of May, They wandered once; clear as the dew on flowers: But they fed not on the advancing hours: Their hearts held cravings for the buried day. Then each applied to each that fatal knife, Deep questioning, which probes to endless dole. Ah, what a dusty answer gets the...