Criticism in America: Its Function and Status; EssaysHarcourt, Brace, 1924 - 330 páginas |
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Página 14
... question- ings . Literary erudition and evolutionary sci- ence were the chief weapons used to fight this modern heresy , but the one is an unwieldy and the other a useless weapon in the field of esthetic thought . On some sides , at ...
... question- ings . Literary erudition and evolutionary sci- ence were the chief weapons used to fight this modern heresy , but the one is an unwieldy and the other a useless weapon in the field of esthetic thought . On some sides , at ...
Página 21
... question is not now a question con- cerning the qualities of diction , the coherence of metaphors , the fitness of sentiments , the general logical truth in a work of art , as it was some half century ago among most critics , neither is ...
... question is not now a question con- cerning the qualities of diction , the coherence of metaphors , the fitness of sentiments , the general logical truth in a work of art , as it was some half century ago among most critics , neither is ...
Página 22
... questions for the critic . Criticism stands like an interpreter between the inspired and the uninspired ; between the prophet and those who hear the melody of his words , and catch some glimpse of their material meaning , but understand ...
... questions for the critic . Criticism stands like an interpreter between the inspired and the uninspired ; between the prophet and those who hear the melody of his words , and catch some glimpse of their material meaning , but understand ...
Página 23
... questions : " What has the writer proposed to himself to do ? and how far has he succeeded in carrying out his own plan ? " Carlyle , in his essay on Goethe , almost uses Goethe's own words , when he says that the critic's first and ...
... questions : " What has the writer proposed to himself to do ? and how far has he succeeded in carrying out his own plan ? " Carlyle , in his essay on Goethe , almost uses Goethe's own words , when he says that the critic's first and ...
Página 24
... leave on the receptive mind , and how can I best express this im- pression ? Is his work true to the laws of its own being rather than to laws formulated by others ? These are the questions that modern critics have 24 J. E. Spingarn.
... leave on the receptive mind , and how can I best express this im- pression ? Is his work true to the laws of its own being rather than to laws formulated by others ? These are the questions that modern critics have 24 J. E. Spingarn.
Outras edições - Ver todos
Criticism in America: Its Function and Status Irving Babbitt,Van Wyck Brooks,W. C. Brownell Prévia não disponível - 2011 |
Termos e frases comuns
achievement Æschylus American criticism Aristotle Arnold artist artist-life artist's mind beauty become Benedetto Croce century cism civilization conception create creative creator crit doctrine drama Dreiser emotion ence English ERNEST BOYD essay esthetic esthetic criticism experience expression fact faculty feeling function genius and taste give Goethe H. L. MENCKEN human ical icism ideal ideas imagination impression impulse individual intellectual intelligence judge judgment less literary live Mark Twain material Matthew Arnold mean ment merely modern moral moralist national genius nature novel novelist object one's original ourselves philosophic phrase Plato poem poet poet's poetry practice pression primitivist professor Puritan race re-creation reality Sainte-Beuve sense Shakespeare society soul Spingarn spirit standards Symons T. S. ELIOT temperament Theodore Dreiser theory thing thought tical tion tive tradition true truth verse vision vital Voltaire whole words world of art write
Passagens mais conhecidas
Página 216 - ... the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order.
Página 216 - This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity.
Página 261 - I feel how weak and fruitless must be any words of mine which should attempt to beguile you from the grief of a loss so overwhelming. But I cannot refrain from tendering to you the consolation that may be found in the thanks of the Republic they died to save. I pray that our heavenly Father may assuage the anguish of your bereavement, and leave you only the cherished memory of the loved and lost, and the solemn pride that must be yours to have laid so costly a sacrifice upon the altar of freedom.
Página 324 - I would define, in brief, the Poetry of words as The Rhythmical Creation of Beauty. Its sole arbiter is Taste. With the Intellect or with the Conscience, it has only collateral relations. Unless incidentally, it has no concern whatever either with Duty or with Truth.
Página 182 - First, we must have made plain to ourselves what the poet's aim really and truly was, how the task he had to do stood before his own eye, and how far, with such means as it afforded him, he has fulfilled it.
Página 259 - ... to clothe home scenes and places and familiar names with those imaginative and •whimsical associations so seldom met with in our new country, but which live like charms and spells about the cities of the old world, binding the heart of the native inhabitant to his home.
Página 227 - The business of the poet is not to find new emotions but to use the ordinary ones and, in working them up into poetry, to express feelings which are not in actual emotions at all. And emotions which he has never experienced will serve his turn as well as those familiar to him. Consequently, we must believe that "emotion recollected in tranquillity
Página 216 - No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.
Página 119 - Thus it tends, at last, to make an intellectual situation of which the creative power can profitably avail itself. It tends to establish an order of ideas, if not absolutely true, yet true by comparison with that which it displaces ; to make the best ideas prevail.
Página 217 - The existing order is complete before the new work arrives ; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered ; and so the relations, proportions, values of each work of art toward the whole are readjusted ; and this is conformity between the old and the new. Whoever has approved this idea of order, of the form of European, of English literature, will not find it preposterous that the past \ | should be altered by the present as...