De Quincey's works, Bind 8 |
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Side 4
... Athenian plays in the noontide of the Attic stage , operated as a literature on the public mind , and were ( according to the strictest letter of that term ) published through the audiences that witnessed their representation some time ...
... Athenian plays in the noontide of the Attic stage , operated as a literature on the public mind , and were ( according to the strictest letter of that term ) published through the audiences that witnessed their representation some time ...
Side 55
... Athenian Me- nander , or the English Congreve , though still an unsettled age , was far less insecure in its condition of police , and far less showy in its exterior aspect . In England , it is true that a picturesque costume still ...
... Athenian Me- nander , or the English Congreve , though still an unsettled age , was far less insecure in its condition of police , and far less showy in its exterior aspect . In England , it is true that a picturesque costume still ...
Side 58
... representations . In Athen him . He was present , by at every performance : the for him . And , allowing fo domiciled aliens called per hear that the Athenian the The other was to impress upon this colloquial form ,. 58 THEORY OF GR.
... representations . In Athen him . He was present , by at every performance : the for him . And , allowing fo domiciled aliens called per hear that the Athenian the The other was to impress upon this colloquial form ,. 58 THEORY OF GR.
Side 58
... Athenian poets in the cir- cumstance of having a peculiar theory of poetic diction , which lowered its tone of separation , and took it down from the cothurnus ) : other verbal forms , again , were used no- where but upon the stage ...
... Athenian poets in the cir- cumstance of having a peculiar theory of poetic diction , which lowered its tone of separation , and took it down from the cothurnus ) : other verbal forms , again , were used no- where but upon the stage ...
Side 58
... for the privileged foreigners ( the domiciled aliens called μeroikot ) , we are not surprised to hear that the Athenian theatre was adapted to an audience of thirty thousand persons . naturally — we have a 58 THEORY OF GREEK TRAGEDY .
... for the privileged foreigners ( the domiciled aliens called μeroikot ) , we are not surprised to hear that the Athenian theatre was adapted to an audience of thirty thousand persons . naturally — we have a 58 THEORY OF GREEK TRAGEDY .
Almindelige termer og sætninger
absolute Adeimantus Africa amongst ancient arose astrologer Athenæum Athenian Athens called character Charles Lamb Christian civilisation colour Count Julian Dahra Danube dialogue diction didactic drama earth effect Egypt Eloisa English Euripides existed expression fact fancy feeling French Gebir grandeur Grecian Greece Greek tragedy heart Heracleida Herodotus honour human idea idolatry instance intellectual interest Iolaus justice king labour lady Lamb's Landor language Latin literature Macedon means mind mode modern moral nations nature necessity never Nile object original Pagan palæstra particular passion peculiar perhaps Pericles philosophic Plato poem poetry poets Pope Pope's Portia principle purpose reader reason regards religious Rennell respect Roman satiric secondly seems sense separate social Socrates solemn sometimes Southey speak stage style supposed taste thing thought tion tragic true truth vast Walter Savage Landor whilst whole word Wordsworth write
Populære passager
Side 35 - For forms of government let fools contest ; Whate'er is best administered is best : For modes of faith let graceless zealots fight ; His can't be wrong whose life is in the right...
Side 282 - When all our fathers worshipped stocks and stones, Forget not : in thy book record their groans Who were thy sheep, and in their ancient fold Slain by the bloody Piedmontese, that rolled Mother with infant down the rocks. Their moans The vales redoubled to the hills and they To heaven.
Side 5 - There is first the literature of knowledge, and secondly, the literature of power. The function of the first is — to teach; the function of the second is — to move: the first is a rudder, the second an oar or a sail. The first speaks to the mere discursive understanding; the second speaks ultimately it may happen to the higher understanding or reason, but always through affections of pleasure and sympathy.
Side 26 - Nothing so true as what you once let fall, "Most women have no characters at all." Matter too soft a lasting mark to bear, And best distinguished by black, brown, or fair.
Side 30 - twould a saint provoke" (Were the last words that poor Narcissa spoke), " No, let a charming chintz, and Brussels lace Wrap my cold limbs, and shade my lifeless face : One would not, sure, be frightful when one's dead — And, Betty, give this cheek a little red.
Side 109 - What repartees could have passed, when you must have felt about for a smile, and handled a neighbour's cheek to be sure that he understood it? This accounts for the seriousness of the elder poetry. It has a sombre cast (try Hesiod or Ossian), derived from the tradition of those unlantern'd nights. Jokes came in with candles.
Side 313 - Beneath a mightier, sterner, stress of mind. Wakeful he sits, and lonely, and unmoved, Beyond the arrows, shouts, and views of men. As oftentimes an eagle, ere the sun Throws o'er the varying earth his early ray, Stands solitary — stands immovable Upon some highest cliff, and rolls his eye, Clear, constant, unobservant, unabased, In the cold light above the dews of morn.
Side 6 - ... what you owe is power, that is exercise, and expansion to your own latent capacity of sympathy with the infinite, where every pulse and each separate influx is a step upwards, a step ascending as upon a Jacob's ladder from earth to mysterious altitudes above the earth.
Side 11 - The reason why. the broad distinctions between the two literatures of power and knowledge so little fix the attention lies in the fact that a vast proportion of books — history, biography, travels, miscellaneous essays, &c.- — lying in a middle zone, confound these distinctions by interblending them. All that we call "amusement...
Side 6 - Nothing at all. What do you learn from a cookery-book? Something new, something that you did not know before, in every paragraph. But would you therefore put the wretched cookery-book on a higher level of estimation than the divine poem? What you owe to Milton is not any knowledge, of which a million separate items are still but a million of advancing steps on the same earthly level; what you owe is...