Oxford Lectures on PoetryMacmillan and Company, limited, 1909 - 395 sider |
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... SHELLEY'S VIEW OF POETRY - 151 THE LONG POEM IN THE AGE OF WORDSWORTH 177 THE LETTERS OF KEATS 209 THE REJECTION OF FALSTAFF 247 SHAKESPEARE'S ANTONY AND CLEOPATRA 279 SHAKESPEARE THE MAN 311 SHAKESPEARE'S THEATRE AND AUDIENCE - 361 ix ...
... SHELLEY'S VIEW OF POETRY - 151 THE LONG POEM IN THE AGE OF WORDSWORTH 177 THE LETTERS OF KEATS 209 THE REJECTION OF FALSTAFF 247 SHAKESPEARE'S ANTONY AND CLEOPATRA 279 SHAKESPEARE THE MAN 311 SHAKESPEARE'S THEATRE AND AUDIENCE - 361 ix ...
Side 7
... Shelley's ' hate of hate ' and ' love of love , ' and that desire to help men or make them happier which may have influenced a poet in hours of meditation — all these have , as such , no poetical worth : they have that worth only when ...
... Shelley's ' hate of hate ' and ' love of love , ' and that desire to help men or make them happier which may have influenced a poet in hours of meditation — all these have , as such , no poetical worth : they have that worth only when ...
Side 9
... Shelley's stanzas To a Sky- lark would be the ideas which arise in the mind of an educated person when , without knowing the poem , he hears the word ' skylark . ' If the title of a poem conveys little or nothing to us , the ' subject ...
... Shelley's stanzas To a Sky- lark would be the ideas which arise in the mind of an educated person when , without knowing the poem , he hears the word ' skylark . ' If the title of a poem conveys little or nothing to us , the ' subject ...
Side 26
... Shelley's hopeless lament , O world , O life , O time , than in the rapturous ecstasy of his Life of Life . This all - embracing perfection cannot be expressed in poetic words or words of any kind , nor yet in music or in colour , but ...
... Shelley's hopeless lament , O world , O life , O time , than in the rapturous ecstasy of his Life of Life . This all - embracing perfection cannot be expressed in poetic words or words of any kind , nor yet in music or in colour , but ...
Side 34
... fail to reveal something of perfection . ) The lines quoted on p . 26 are from a fragment of Shelley's , beginning ' Is it that in some brighter sphere . ' THE SUBLIME THE SUBLIME1 COLERIDGE used to tell a story 34 OXFORD LECTURES ON ...
... fail to reveal something of perfection . ) The lines quoted on p . 26 are from a fragment of Shelley's , beginning ' Is it that in some brighter sphere . ' THE SUBLIME THE SUBLIME1 COLERIDGE used to tell a story 34 OXFORD LECTURES ON ...
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action aesthetic Alastor answer Antigone Antony and Cleopatra Antony's appears audience beauty believe Cæsar called character Coleridge conflict Coriolanus criticism death doubt drama dream effect Elizabethan Endymion evil example experience expression fact Falstaff feel felt genius Goethe groundlings Hamlet heart Hegel Henry Henry IV hero human idea ideal imagination impression infinite Julius Cæsar Keats Keats's kind King King Lear language lecture less long poem lyrical Macbeth matter meaning merely mind moral nature never Octavius Othello pain passage passion perhaps play poet poet's poetic poetry question reader realise reason refer remember scene seems sense Shakespeare Shakespearean Tragedy Shelley Shelley's sonnets soul speak speech spirit stage stanza story sublime substance sympathy theory thing thought tion tragedy tragic Troilus and Cressida true truth Twelfth Night whole words Wordsworth write
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Side 233 - That light whose smile kindles the universe, That beauty in which all things work and move, That benediction which the eclipsing curse Of birth can quench not, that sustaining Love Which, through the web of being blindly wove By man and beast and earth and air and sea, Burns bright or dim, as each are mirrors of The fire for which all thirst, now beams on me, Consuming the last clouds of cold mortality.
Side 127 - For I must tread on shadowy ground, must sink Deep — and, aloft ascending, breathe in worlds To which the heaven of heavens is but a veil. All strength — all terror, single or in bands, That ever was put forth in personal form — Jehovah — with his thunder, and the choir Of shouting Angels, and the empyreal thrones — I pass them unalarmed.
Side 110 - He too upon a wintry clime Had fallen — on this iron time Of doubts, disputes, distractions, fears. He found us when the age had bound Our souls in its benumbing round ; He spoke, and loosed our heart in tears. He laid us as we lay at birth On the cool flowery lap of earth...
Side 156 - It is as it were the interpenetration of a diviner nature through our own ; but its footsteps are like those of a wind over the sea, which the coming calm erases, and whose traces remain only, as on the wrinkled sand which paves it.
Side 135 - Not for these I raise The song of thanks and praise; But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings; Blank misgivings of a Creature Moving about in worlds not realised, High instincts before which our mortal Nature Did tremble like a guilty Thing surprised...
Side 145 - And then an open field they crossed : The marks were still the same; They tracked them on, nor ever lost; And to the bridge they came. They followed from the snowy bank Those footmarks, one by one, Into the middle of the plank; And further there were none ! — Yet some maintain that to this day She is a living child ; That you may see sweet Lucy Gray Upon the lonesome wild.
Side 217 - This morning I am in a sort of temper, indolent and supremely careless ; I long after a stanza or two of Thomson's " Castle of Indolence " ; my passions are all asleep, from my having slumbered till nearly eleven, and weakened the animal fibre all over me, to a delightful sensation, about three degrees on this side of faintness. If I had teeth of pearl, and the breath of lillies, I should call it languor ; but as I am I must call it laziness.
Side 317 - I am as sorry as if the original fault had been my fault, because myself have seen his demeanour no less civil than he excellent in the quality he professes: besides, divers of worship have reported his uprightness of dealing which argues his honesty, and his facetious grace in writing, that approves his art.
Side 139 - The old Man still stood talking by my side; But now his voice to me was like a stream Scarce heard; nor word from word could I divide...
Side 160 - Hence the vanity of translation; it were as wise to cast a violet into a crucible that you might discover the formal principle of its colour and odour, as seek to transfuse from one language into another the creations of a poet.