Studies in Criticism and Aest

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Howard Anderson
U of Minnesota Press, 1967 - 419 Seiten
In this volume nineteen contributors, in as many essays, discuss various aspects of critical and aesthetic development in the late seventeenth and the eighteenth centuries, from the time of Dryden to Wordsworth. This was a period in which traditional lite.

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Inhalt

Introduction
3
When Was Neoclassicism?
13
Erminia in Minneapolis
36
Chaucer in Drydens Fables
58
Shaftesbury and the Age of Sensibility
73
Addison on Ornament and Poetic Style
94
Relativism and An Essay on Criticism
128
Popes Definition of His Art
140
Humes Of Criticism
232
William Warburton as New Critic
249
The Naked Science of Language 17471786
266
Imlac and the Business of a Poet
296
The Comic Syntax of Tristram Shandy
315
Reynolds and the Art of Characterization
332
Gainsboroughs Prospect Animated Prospect
358
A Revolution in Dispute
380

Art and Reality in Pope and Gray
156
Thomsons Poetry of Space and Time
176
The Reach of Art in Augustan Poetic Theory
193
Philosophical Language and the Theory of Beauty in the Eighteenth Century
213
A List of Books Articles and Reviews Published
401
Index
403
Urheberrecht

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Seite 312 - The remotest discoveries of the chemist, the botanist, or mineralogist, will be as proper objects of the poet's art as any upon which it can be employed, if the time should ever come when these things shall be familiar to us, and the relations under which they are contemplated by the followers of these respective sciences shall be manifestly and palpably material to us as enjoying and suffering beings.
Seite 312 - If the labours of Men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the Poet will sleep then no more than at present; he will be ready to follow the steps of the Man of science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of the science itself.
Seite 203 - All the images of Nature were still present to him, and he drew them, not laboriously, but luckily; when he describes anything, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read Nature; he looked inwards, and found her there.
Seite 151 - A cherub's face, a reptile all the rest; Beauty that shocks you, Parts that none will trust, Wit that can creep, and Pride that licks the dust. Not Fortune's worshipper, nor Fashion's fool, Not Lucre's madman, nor Ambition's tool...
Seite 316 - I WISH either my father or my mother, or indeed both of them, as they were in duty both equally bound to it, had minded what they were about when they begot me...
Seite 198 - There are, indeed, but very few who know how to be idle and innocent, or have a relish of any pleasures that are not criminal; every diversion they take is at the expense of some one virtue or another, and their very first step out of business is into vice or folly.
Seite 296 - All the appearances of nature I was therefore careful to study, and every country which I have surveyed has contributed something to my poetical powers.

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