The Making of Literature |
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action admiration æsthetic ancient Aristophanes Aristotle Arnold artist beauty become Ben Jonson Boileau century character classical Coleridge creative critic Croce Dante delight Demosthenes didactic divine doctrine drama Dryden E. M. Forster elements emotions essential Euripides example excellence experience expression Expressionist fact faculty feeling genius gives Goethe Greek Hesiod Homer human ideal ideas images imagination imitation impressions inspired intellectual intuition Jonson judge judgment kind language Laocoon less literary literature living Longinus Marius matter Matthew Arnold mean medium method mind modern moral nature never novel novelist object painter painting passion Pater personality philosopher picture Plato play pleasure plot Plotinus poem poet poetic poetry present principles Quintilian reality reason romantic romanticism Ruskin Sainte-Beuve sense Shakespeare Sophocles soul speak spirit style sublime taste theme theory thing thought tragedy true truth unity verse vision Walter Pater whole words Wordsworth writing
Popular passages
Page 223 - I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate; or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.
Page 223 - The primary imagination I hold to be the living power and prime agent of all human perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM.
Page 109 - And strictly meditate the thankless Muse? Were it not better done, as others use, To sport with Amaryllis in the shade, Or with the tangles of Neaera's hair?
Page 240 - It has been before observed that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant passion ; or by associated thoughts or images awakened by that passion...
Page 377 - Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour.
Page 220 - O Lady ! we receive but what we give, And in our life alone does Nature live; Ours is her wedding-garment, ours her shroud ! And would we aught behold, of higher worth, Than that inanimate cold world allowed To the poor loveless ever-anxious crowd, Ah ! from the soul itself must issue forth A light, a glory, a fair luminous cloud Enveloping the Earth — And from the soul itself must there be sent A sweet and potent voice, of its own birth, Of all sweet sounds the life and element!
Page 122 - I loved the man, and do honour his memory on this side idolatry, as much as any. He was (indeed) honest, and of an open and free nature ; had an excellent fancy, brave notions and gentle expressions ; wherein he flowed with that facility, that sometimes it was necessary he should be stopped : Sufflaminandus erat, as Augustus said of Haterius.
Page 189 - Tarsus, bound for the isles Of Javan or Gadire, With all her bravery on, and tackle trim, Sails fill'd, and streamers waving, Courted by all the winds that hold them play...
Page 121 - I remember the Players have often mentioned it as an honour to Shakespeare, that in his writing (whatsoever he penned) he never blotted out line. My answer hath been, would he had blotted a thousand.
Page 211 - A man cannot say, I will compose poetry ! The greatest poet even cannot say it, for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness...