English Critical Texts: 16th Century to 20th CenturyDennis Joseph Enright, Ernst De Chickera Oxford University Press, 1962 - 398 من الصفحات |
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النتائج 1-3 من 17
الصفحة 299
... emotion is in the dramatic situation to which the speech is pertinent , but that situation 260 alone is inadequate to it . This is , so to speak , the structural emotion , provided by the drama . But the whole effect , the dominant tone ...
... emotion is in the dramatic situation to which the speech is pertinent , but that situation 260 alone is inadequate to it . This is , so to speak , the structural emotion , provided by the drama . But the whole effect , the dominant tone ...
الصفحة 300
... emotion by no means super- 265 ficially evident , have combined with it to give us a new art emotion . It is not in his personal emotions , the emotions provoked by particular events in his life , that the poet is in any way remark ...
... emotion by no means super- 265 ficially evident , have combined with it to give us a new art emotion . It is not in his personal emotions , the emotions provoked by particular events in his life , that the poet is in any way remark ...
الصفحة 301
... emotion in verse , and there is a smaller number of people who can appreciate technical excellence . But very few know when there is an expression of significant emotion , emotion which has its life in the poem and not in the 310 ...
... emotion in verse , and there is a smaller number of people who can appreciate technical excellence . But very few know when there is an expression of significant emotion , emotion which has its life in the poem and not in the 310 ...
المحتوى
An Essay of Dramatic Poesy | 50 |
An Essay on Criticism III | 111 |
Preface to Shakespeare | 131 |
حقوق النشر | |
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عبارات ومصطلحات مألوفة
action admiration Aeneid alive ancient Aristotle beauty Ben Jonson better blank verse character Chaucer Cicero classics comedy composition Crites criticism D. H. LAWRENCE delight diction divine doth drama Dryden effect emotion English Euripides excellent express F. R. LEAVIS faults feelings French genius give Greek hath Homer honour Horace human humour imagination imitation Johnson judgement Keats Keats's kind knowledge language learning Lisideius living manner Metaphysical Poets metre metrical mind modern moral nature never object observed passions perfection perhaps persons philosopher Plato Plautus play pleasure plot Plutarch poem poesy poet poet's poetic poetry praise produced prose reader reason rhyme rules scenes sense Shakespeare Silent Woman soul speak spirit stage stanza style T. S. ELIOT things thought tion tragedy true truth unity Velleius Paterculus Virgil virtue words Wordsworth write