Criticism in America: Its Function and Status; EssaysHarcourt, Brace, 1924 - 330 páginas |
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Página 18
... as much a prod- uct of reason as science or history . The eight- eenth century complicated the course of Crit- icism by the introduction of vague and novel criteria , such as " imagination , " " sentiment 18 J. E. Spingarn.
... as much a prod- uct of reason as science or history . The eight- eenth century complicated the course of Crit- icism by the introduction of vague and novel criteria , such as " imagination , " " sentiment 18 J. E. Spingarn.
Página 27
... reason forbidden to utter ; the rules are a survival of the savage taboo . We find few arbitrary rules in Aristotle , who limited himself to empirical inductions from the experience of literature ; but they appear in the later Greek ...
... reason forbidden to utter ; the rules are a survival of the savage taboo . We find few arbitrary rules in Aristotle , who limited himself to empirical inductions from the experience of literature ; but they appear in the later Greek ...
Página 38
... reason why the artist cannot teach it , why the pupil cannot learn it , and why the esthetic critic can understand it , ” says Oscar Wilde , in a dialogue on " The Critic as Artist , " which , amid much perversity and paradox , is il ...
... reason why the artist cannot teach it , why the pupil cannot learn it , and why the esthetic critic can understand it , ” says Oscar Wilde , in a dialogue on " The Critic as Artist , " which , amid much perversity and paradox , is il ...
Página 58
... reason , look to criti- cism to declare the judgment of reason on the intellectual and moral values of art . But has art any intellectual and moral values ? . . . I do not see that art , in being phenomenal , escapes from the reason any ...
... reason , look to criti- cism to declare the judgment of reason on the intellectual and moral values of art . But has art any intellectual and moral values ? . . . I do not see that art , in being phenomenal , escapes from the reason any ...
Página 79
... passion , ado- ration - in a word , of ideality , where what Wordsworth calls " our meddling intellect , " the practical reason , has small part . I well know how opposed this doctrine is to the 79 Two Phases of Criticism.
... passion , ado- ration - in a word , of ideality , where what Wordsworth calls " our meddling intellect , " the practical reason , has small part . I well know how opposed this doctrine is to the 79 Two Phases of Criticism.
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...