An Abridgment of Elements of CriticismRaynor, 1848 - 300 |
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Strona 43
... forces the mind to personify a stock or stone , if it hap- pen to occasion bodily pain , and even to believe it a voluntary agent , in order to be a proper object of re- sentment . • Of such personification , involving a conviction of ...
... forces the mind to personify a stock or stone , if it hap- pen to occasion bodily pain , and even to believe it a voluntary agent , in order to be a proper object of re- sentment . • Of such personification , involving a conviction of ...
Strona 45
... force the mind ? Give an example . What fine instance of the influence of passion does Shakspeare give in Lear ? -in King Richard II . ? PART VI . The resemblance of Emotions to their Causes . That many emotions have some resemblance to ...
... force the mind ? Give an example . What fine instance of the influence of passion does Shakspeare give in Lear ? -in King Richard II . ? PART VI . The resemblance of Emotions to their Causes . That many emotions have some resemblance to ...
Strona 50
... strike the eye with combined force . Hence it is , that beauty , a quality so remarkable in visible objects , lends its name to express every thing that is eminently agreeable : thus , by a figure 50 ELEMENTS OF CRITICISM .
... strike the eye with combined force . Hence it is , that beauty , a quality so remarkable in visible objects , lends its name to express every thing that is eminently agreeable : thus , by a figure 50 ELEMENTS OF CRITICISM .
Strona 60
... force , accounts for a fact that may appear surprising ; which is , that we are more moved by a spirited narrative at second- hand , than by being spectators of the event itself , in all its circumstances . The following description of ...
... force , accounts for a fact that may appear surprising ; which is , that we are more moved by a spirited narrative at second- hand , than by being spectators of the event itself , in all its circumstances . The following description of ...
Strona 63
... force elevation by introducing ima- ginary beings without preserving any propriety in their actions ; as if it were lawful to ascribe every extrava- gance and inconsistence to beings of the poet's crea- tion . No writers are more ...
... force elevation by introducing ima- ginary beings without preserving any propriety in their actions ; as if it were lawful to ascribe every extrava- gance and inconsistence to beings of the poet's crea- tion . No writers are more ...
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accent action agreeable allegory appear arts beauty blank verse burlesque Cæsar cause circumstances comparison congruity connexion couplet dignity disagreeable distinguished doth effect elevated emotion produced emotions and passions emotions raised epic poetry expression external Falstaff feeling figure of speech FINGAL garden Give an example Give examples grace grandeur grief hath heaven Hence HENRY IV.-ACT HUDIBRAS ILIAD imagination imitation impression inanimate Jane Shore jects kind king language less light manner means melody metaphor mind motion Mozambic nature never novelty o'er object observed ornament Ossian Othello painful PARADISE LOST pause person personification pleasure poem principle proper reason relation relish resemblance respect rhyme RICHARD II.-ACT ridicule riety rule SECOND PART HENRY sense sensible sentiments Shakspeare simile sion soliloquies sonification sort sound species spectator sublime syllables taste termed thee things thou thought tion tragedy variety verse words writers