Elements of Criticism: Volume I [-II]., Volume 2A. Millar, London; and A. Kincaid & J. Bell, Edinburgh., 1765 - Criticism |
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Page 8
... reason is , that though two founds rea- dily unite , yet where they differ in tone , both of them must be heard if neither of them be fuppreff- ed . For the fame reafon , every fyllable must be compofed of as many founds as there are ...
... reason is , that though two founds rea- dily unite , yet where they differ in tone , both of them must be heard if neither of them be fuppreff- ed . For the fame reafon , every fyllable must be compofed of as many founds as there are ...
Page 15
... reason , succeeding one that is large , ap- pears less than usual * . Hence a remarkable pleasure in viewing a series afcending by large differences ; directly opposite to what we feel when the differences are small . Beginning at the ...
... reason , succeeding one that is large , ap- pears less than usual * . Hence a remarkable pleasure in viewing a series afcending by large differences ; directly opposite to what we feel when the differences are small . Beginning at the ...
Page 17
... other human means is it possible to present to the mind , fuch a number of objects and in so swift a fucceffion , as by VOL . II . fpeaking B fpeaking or writing : and for that reason , variety Sect . I. BEAUTY OF LANGUAGE . " 17.
... other human means is it possible to present to the mind , fuch a number of objects and in so swift a fucceffion , as by VOL . II . fpeaking B fpeaking or writing : and for that reason , variety Sect . I. BEAUTY OF LANGUAGE . " 17.
Page 18
... reason , variety ought more to be studied in these , than in any o- ther fort of composition . Hence a rule regarding the arrangement of the members of different pe- riods with relation to each other , That to avoid a tedious uniformity ...
... reason , variety ought more to be studied in these , than in any o- ther fort of composition . Hence a rule regarding the arrangement of the members of different pe- riods with relation to each other , That to avoid a tedious uniformity ...
Page 37
... two resembling objects , there is equal reason for studying opposition in the words which express contrasted objects . This rule C3 rule will be best illustrated by examples of devia- tions Sect . II . BEAUTY OF LANGUAGE . 37.
... two resembling objects , there is equal reason for studying opposition in the words which express contrasted objects . This rule C3 rule will be best illustrated by examples of devia- tions Sect . II . BEAUTY OF LANGUAGE . 37.
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Common terms and phrases
abſtract accent action Æneid agreeable alſo appear arts beauty becauſe beſide beſt cafe cauſe chap circumſtance cloſe compariſon compoſed compoſition confidered connected courſe deſcribed deſcription diftinguiſhed emotions employ'd Engliſh epic example expreffing expreffion expreſſed fame fignify figure fimile firſt fome fuch fyllables garden hath Hexameter houſe Iliad impreffion impreſſion inſtances inverſion itſelf jects juſt language laſt leaſt leſs meaſure melody mind moſt muſic muſt nature neceſſary object obſerved occafion oppoſite paffion paſſage pauſe perſon pleaſe pleaſure poem preſent proper purpoſe raiſed reaſon reliſhed repreſentation repreſented reſemblance reſpect reſt rhyme rule ſame ſay ſcarce ſcene ſecond ſeen ſenſe ſenſible ſeparated ſerve ſeveral ſhall ſhort ſhould ſhow ſingle ſome ſpeaking ſpecies ſpectator ſpeech Spondees ſtage ſtandard ſtate ſtep ſtill ſtriking ſtudied ſtyle ſubject ſubſtantive ſuch ſupport taſte theſe thing thoſe thou thought tion uſe verſe whoſe words
Popular passages
Page 186 - Behold, how good and how pleasant it is for brethren to dwell together in unity! It is like the precious ointment upon the head, that ran down upon the beard, even Aaron's beard: that went down to the skirts of his garments; As the dew of Hermon, and as the dew that descended upon the mountains of Zion: for there the Lord commanded the blessing, even life for evermore.
Page 329 - O, you hard hearts, you cruel men of Rome, Knew you not POmpey? Many a time and oft Have you climb'd up to walls and battlements, To towers and windows, yea, to chimney-tops, Your infants in your arms, and there have sat The livelong day, with patient expectation, To see great POmpey pass the streets of Rome...
Page 236 - To monarchize, be fear'd and kill with looks, Infusing him with self and vain conceit, As if this flesh which walls about our life Were brass impregnable, and...
Page 279 - What could have been done more to my vineyard, That I have not done in it? Wherefore, when I looked that it should bring forth grapes, Brought it forth wild grapes?
Page 236 - O gentle sleep, Nature's soft nurse, how have I frighted thee, That thou no more wilt weigh my eyelids down, And steep my senses in forgetfulness...
Page 314 - Why, well; Never so truly happy, my good Cromwell. I know myself now; and I feel within me A peace above all earthly dignities, A still and quiet conscience.
Page 237 - Wilt thou upon the high and giddy mast Seal up the ship-boy's eyes, and rock his brains In cradle of the rude imperious surge, And in the visitation of the winds, Who take the ruffian billows by the top, Curling their monstrous heads, and hanging them With deafening clamour in the slippery clouds, That, with the hurly, death itself awakes...
Page 334 - There are a sort of men whose visages Do cream and mantle like a standing pond, And do a wilful stillness entertain, With purpose to be dress'd in an opinion Of wisdom, gravity, profound conceit; As who should say, " I am Sir Oracle, And when I ope my lips let no dog bark...
Page 434 - Flowers worthy of Paradise, which not nice Art In beds and curious knots, but Nature boon Pour'd forth profuse on hill, and dale, and plain...
Page 279 - And now go to; I will tell you what I will do to my vineyard : I will take away the hedge thereof, and it shall be eaten up; And break down the wall thereof, and it shall be trodden down...