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allegory ancient Greece appear Beaumont and Fletcher beauty Ben Jonson cause character Christian common contemplated Dante devil distinct divine Don Quixote Elensi excellence existence express fact faculties fancy feeling former genius give Gothic Greece Greek Hence human humour idea images imagination imitation individual instance intellect interest Jonson judgment language latter least Lecture less living Massinger Maxilian mean Milton mind moral nations nature never nomos object observe original pantheism Paradise Lost passage passion perfect perhaps Perkin Warbeck person Petrarch philosophy Plato pleasure poem poet poetry polytheism present principle produced Prometheus Rabelais racter reader reason religion Roman S. T. Coleridge Sancho's Scholium sense Shakspeare soul spirit style symbol taste term theism thing thou thought tion Tom Jones Trochee true truth understanding unity verse whole words writers
Page 86 - I'll not hurt thee, says my uncle Toby, rising from his chair, and going across the room, with the fly in his hand, I'll not hurt a hair of thy head: — Go, says he, lifting up the sash, and opening his hand as he spoke, to let it escape; — go, poor devil, get thee gone, why should I hurt thee? — This world surely is wide enough to hold both thee and me.
Page 34 - Upon the top of all his loftie crest, A bounch of heares discolourd diversly, With sprincled pearle and gold full richly drest, Did shake. and seemd to daunce for jollity, Like to an almond tree ymounted hye On top of greene Selinis all alone, With blossoms brave bedecked daintily ; Whose tender locks do tremble every one At everie little breath that under heaven is blowne.
Page 173 - He was a shepherd, and no mercenarie. And though he holy were, and vertuous, He was to sinful men not dispitous, Ne of his speche dangerous ne digne, But in his teching discrete and benigne.
Page 121 - Time serves not now, and perhaps I might seem too profuse to give any certain account of what the mind at home, in the spacious circuits of her musing, hath liberty to propose to herself, though of highest hope and hardest attempting; whether that epic form whereof the two poems of Homer and those other two of Virgil and Tasso are a diffuse, and the book of Job a brief model...
Page 169 - Its first delightfulness is simple accordance with the ear; but it is an associated thing, and recalls the deep emotions of the past with an intellectual sense of proportion. Every human feeling is greater and .! larger than the exciting cause, — a proof, I think, j\ that man is designed for a higher state of existence ; •' and this is deeply implied in music, in which there is always something more and beyond the immediate expression.
Page 78 - So in every human body, The choler, melancholy, phlegm and blood, By reason that they flow continually In some one part, and are not continent, Receive the name of humours. Now thus far, .'• ' It may, by metaphor, apply itself Unto the general disposition...
Page 170 - In order to derive pleasure from the occupation of the mind, the principle of unity must always be present, so that in the midst of the multeity the centripetal force be never suspended, nor the sense be fatigued by the predominance of the centrifugal force. This unity in multeity I have elsewhere stated as the principle of beauty. It is equally the source of pleasure in variety, and in fact a higher term including both. What is the seclusive or distinguishing term between them? " Remember that there...
Page 163 - If the artist copies the mere nature, the natura naturata, what idle rivalry! If he proceeds only from a given form, which is supposed to answer to the notion of beauty, what an emptiness, what an unreality there always is in his productions, as in Cipriani's pictures!
Page 57 - The Symbolical cannot, perhaps, be better defined in distinction from the Allegorical, than that it is always itself a part of that, of the whole of which it is the representative. " Here comes a sail "—that is, a ship,—is a symbolical expression.
Page 11 - ... When I enter a Greek Church, my eye is charmed, and my mind elated ; I feel exalted, and proud that I am a man. But the Gothic art is sublime. On entering a cathedral, I am filled with devotion and with awe ; I am lost to the actualities that surround me, and my whole being expands into the infinite ; earth and air, nature and art, all swell up into eternity, and the only sensible impression left, is