The Myths of Plato; Tr., with Introductory and Other Observations, by J.A. StewartMacmillan and Company, limited, 1905 - 532 sayfa |
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Sayfa vii
... Poets , quoted to exemplify the production of this effect . 20-39 4. " Transcendental Feeling " explained genetically as the reflection in Conscious- ness of the Life of the " Vegetative Part of the Soul , " the fundamental principle in ...
... Poets , quoted to exemplify the production of this effect . 20-39 4. " Transcendental Feeling " explained genetically as the reflection in Conscious- ness of the Life of the " Vegetative Part of the Soul , " the fundamental principle in ...
Sayfa 6
... talk . " 2 Coleridge , referring to Lyrical Ballads , speaks of " that willing suspension of disbelief for the moment , which constitutes poetic faith . " at least , and often serious , deliberate make - 6 THE MYTHS OF PLATO.
... talk . " 2 Coleridge , referring to Lyrical Ballads , speaks of " that willing suspension of disbelief for the moment , which constitutes poetic faith . " at least , and often serious , deliberate make - 6 THE MYTHS OF PLATO.
Sayfa 22
... poetic effect is felt , but none of them forming part of that effect itself . Sometimes the power of calling up Transcendental Feeling seems to be exercised at no point or points which can be definitely indicated in the course of a poem ...
... poetic effect is felt , but none of them forming part of that effect itself . Sometimes the power of calling up Transcendental Feeling seems to be exercised at no point or points which can be definitely indicated in the course of a poem ...
Sayfa 23
... Poets of their employment of the means which I have just now mentioned . A common scene is simply pictured for the mind's eye : — Sole listener , Duddon ! to the breeze that played With thy clear voice , I caught the fitful sound 1 See ...
... Poets of their employment of the means which I have just now mentioned . A common scene is simply pictured for the mind's eye : — Sole listener , Duddon ! to the breeze that played With thy clear voice , I caught the fitful sound 1 See ...
Sayfa 24
... Poet's hopeless woe , Tenderest of Roman poets nineteen hundred years ago , " Frater Ave atque Vale " - -as we wander'd to and fro Gazing at the Lydian laughter of the Garda Lake below Sweet Catullus's all - but - island , olive ...
... Poet's hopeless woe , Tenderest of Roman poets nineteen hundred years ago , " Frater Ave atque Vale " - -as we wander'd to and fro Gazing at the Lydian laughter of the Garda Lake below Sweet Catullus's all - but - island , olive ...
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Sayfa 29 - He is made one with Nature : there is heard His voice in all her music, from the moan Of thunder, to the song of night's sweet bird ; He is a presence to be felt and known In darkness and in light, from herb and stone, Spreading itself where'er that Power may move Which has withdrawn his being to its own ; Which wields the world with never wearied love, Sustains it from beneath, and kindles it above.
Sayfa 29 - He has outsoared the shadow of our night; Envy and calumny and hate and pain, And that unrest which men miscall delight, Can touch him not and torture not again; From the contagion of the world's slow stain He is secure, and now can never mourn A heart grown cold, a head grown grey in vain; Nor, when the spirit's self has ceased to burn, With sparkless ashes load an unlamented urn.
Sayfa 237 - For this Agar is mount Sinai in Arabia, and answereth to Jerusalem which now is, and is in bondage with her children. But Jerusalem which is above is free, which is the mother of us all.
Sayfa 29 - Peace, peace! he is not dead, he doth not sleep — He hath awakened from the dream of life — 'Tis we, who lost in stormy visions, keep With phantoms an unprofitable strife, And in mad trance, strike with our spirit's knife Invulnerable nothings.
Sayfa 237 - But he who was of the bondwoman was born after the flesh ; but he of the freewoman was by promise. Which things are an allegory: for these are the two covenants; the one from the mount Sinai, which gendereth to bondage, which is Agar.
Sayfa 32 - Then with the knowledge of death as walking one side of me, And the thought of death close-walking the other side of me, And I in the middle as with companions, and as holding the hands of companions, I fled forth to the hiding receiving night that talks not, Down to the shores of the water, the path by the swamp in the dimness, To the solemn shadowy cedars and ghostly pines so still.
Sayfa 30 - WHEN lilacs last in the dooryard bloom'd, And the great star early droop'd in the western sky in the night, I mourn'd, and yet shall mourn with ever-returning spring.
Sayfa 31 - Passing the yellow-spear'd wheat, every grain from its shroud in the dark-brown fields uprisen, Passing the apple-tree blows of white and pink in the orchards, Carrying a corpse to where it shall rest in the grave, Night and day journeys a coffin.
Sayfa 390 - Poetry" (though against my own judgment) as opposed to the word Prose, and synonymous with metrical composition. But much confusion has been introduced into criticism by this contradistinction of Poetry and Prose, instead of the more philosophical one of Poetry and Matter of Fact, or Science.
Sayfa 30 - And many more, whose names on earth are dark, But whose transmitted effluence cannot die So long as fire outlives the parent spark, Rose, robed in dazzling immortality. 'Thou art become as one of us...