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2d Pt active actual criticism Addison aesthetic Aristotle Arnold artistic Ascham to present beauty Carlyle character chiefly classical Coleridge composition conceit critical terms denoted Dowden Dryden effect eighteenth century emotion employed English criticism expression Faery Queen fancy feeling Fiction genius Goldsmith Gosse Gothic Hallam harmony Hazlitt Hist humour ideal imagery images imagination imitation intellectual J. A. Symonds Jeffrey Johnson judgment Landor language latter portion literary literature Lowell lyrical manners meaning mental mental imagery method Milton mind moral nature ornament passion Pater picturesque poem poet poetical poetry Pope predicate present century produced propriety Prose Puttenham Quincey Quintilian represented Rhet romantic Rossetti Rymer Saintsbury sense sensibility sentiment Shaftesbury Shak Shakespeare simplicity Stedman style sublime Swin Swinburne taste thought tion truth unity usually verse VIII Warton Webbe Whipple Wilson words Wordsworth XVIII XXII
Page 157 - 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 290 - Whatever is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.
Page 49 - I am certain of nothing but of the holiness of the Heart's affections and the truth of Imagination— What the imagination seizes as Beauty must be truth— whether it existed before or not...
Page 205 - ... All the images of nature were still present to him, and he drew them not laboriously but luckily: when he describes anything you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read Nature; he looked inwards, and found her there.
Page 157 - 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 174 - THERE is a kind of writing, wherein the poet quite loses sight of nature, and entertains his reader's imagination with the characters and actions of such persons as have many of them no existence, but what he bestows on them. Such are fairies, witches, magicians, demons, and departed spirits. This Mr. Dryden calls
Page 108 - Fancy, on the contrary, has no other counters to play with but fixities and definites. The fancy is indeed no other than a mode of memory emancipated from the order of time and space, while it is blended with, and modified by, that empirical phenomenon of the will which we express by the word choice. But equally with the ordinary memory the fancy must receive all its materials ready made from the law of association.
Page 107 - So then the first happiness of the poet's imagination is properly invention, or finding of the thought; the second is fancy, or the variation, deriving, or moulding, of that thought, as the judgment represents it proper to the subject; the third is elocution, or the art of clothing and adorning that thought, so found and varied, in apt, significant, and sounding words : the quickness of the imagination is seen in the invention, the fertility in the fancy, and the accuracy in the expression.
Page 153 - I boldly answer him, that an heroic poet is not tied to a bare representation of what is tme, or exceeding probable ; but that he may let himself loose to visionary objects, and to the representation of such things, as, depending not on sense, and therefore not to be comprehended by knowledge, may give him a freer scope for imagination.
Page 202 - Only the poet, disdaining to be tied to any such subjection, lifted up with the vigor of his own invention, doth grow in effect into another nature, in making things either better than nature bringeth forth, or, quite anew, forms such as never were in nature...