Methods and Materials of Literary Criticism: Lyric, Epic and Allied Forms of PoetryGinn, 1920 - 911 pages |
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Common terms and phrases
९९ aesthetic ancient Anthology Aristotle Arnold ballad Berlin bibliography Brit Byron Camb century Chap character cited classical Coleridge Compare Crit criticism Dante deutsche deutschen Dichtung drama edition elegiac elegy Elizabethan emotion Encyc English Lyric English Poetry epic epic poetry epigram erotic especially Essays Études Firenze française French Gayley and Scott German Gesch Geschichte Goethe Greek lyric Grundriss Gummere Hegel Hist Homer hymns idyl imitation influence introduction Italian J. A. Symonds Jahrh Latin Leipz lirica literary literature litt Lond lyric poetry Lyrik lyrists Matthew Arnold method metres Minnesang modern musical nature noted origin Ovid Paris pastoral period Petrarch Pindar poems Poesie poetic poets popular Provençal references religious Renaissance romantic Rossetti Saintsbury Shelley siècle songs sonnet student Swinburne Tennyson theory Tibullus tion trans translations Troubadours trouvères vers de société verse Virgil vols Wordsworth writers
Popular passages
Page 121 - Carlyle, in his essay on Goethe, almost uses Goethe's own words, when he says that the critic's first and foremost duty is to make plain to himself "what the poet's aim really and truly was, how the task he had to do stood before his eye, and how far, with such materials as were afforded him, he has fulfilled it.
Page 49 - cocoon' (to speak by the language applied to silkworms), which the poem spins for itself. But on the other hand, where the motion of the feeling is by and through the ideas, where (as in religious or meditative...
Page 121 - ... with human nature, and the nature of things at large ; with the universal principles of poetic beauty, not as they stand written in our text-books, but in the hearts and imaginations of all men.
Page 556 - The use of this feigned history hath been to give some shadow of satisfaction to the mind of man in those points wherein the nature of things doth deny it, the world being in proportion inferior to the soul ; by reason whereof there is agreeable to the spirit of man, a more ample greatness, a more exact goodness, and a more absolute variety, than can be found in the nature of things.
Page 565 - Such is the fable of this ancient piece: which the reader may observe, is as regular in its conduct, as any of the finest poems of classical antiquity. If the execution, particularly as to the diction and sentiments, were but equal to the plan, it would be a capital performance ; but this is such as might be expected in rude and ignorant times, and in a barbarous unpolished language.
Page 293 - Elizabethan writers: —that, lastly, to what was thus inherited they added a richness in language and a variety in metre, a force and fire in narrative, a tenderness and bloom in feeling, an insight into the finer passages of the Soul and the inner meanings of the landscape, a larger and wiser Humanity, -hitherto hardly attained, and perhaps unattainable even by predecessors of not inferior individual genius.
Page 125 - But with whatever differences of species and class, the essence of lyrical poetry remains in all identical ; it is designed to express, and when successful does express, some one mood, some single sentiment, some isolated longing in human nature. It deals not with man as a whole, but with man piecemeal, with man in a scenic aspect, with man in a peculiar light. Hence lyrical poets must not be judged literally from their lyrics : they are discourses ; they require to be reduced into the scale of ordinary...
Page 29 - ELEGY is the form of poetry natural to the reflective mind. It may treat of any subject, but it must treat of no subject for itself; but always and exclusively with reference to the poet himself.
Page 565 - ... and therefore have always fastidiously rejected the old poetical Romances, because founded on fictitious or popular subjects, while they have been careful to grub up every petty fragment of the most dull and insipid rhymist, whose merit it was to deform morality, or obscure true history. Should the public encourage the revival of some of those ancient Epic Songs of Chivalry, they would frequently see the rich ore of an Ariosto or a Tasso, though buried it may be among the rubbish and dross of...
Page 33 - The thing was my earliest attempt at " poetry always dramatic in principle, and so many utterances of so many imaginary persons, not mine...