Elements of Criticism, Volume 3Johnson Reprint Corporation, 1967 - Criticism |
From inside the book
Results 1-3 of 14
Page 376
... qualities of figure , colour , motion , & c .: by the ear we perceive the qualities high , low , loud , foft by touch we perceive rough , smooth , hot , cold , & c .: by tafte we perceive sweet , four , bitter , & c .: by fmell we ...
... qualities of figure , colour , motion , & c .: by the ear we perceive the qualities high , low , loud , foft by touch we perceive rough , smooth , hot , cold , & c .: by tafte we perceive sweet , four , bitter , & c .: by fmell we ...
Page 406
... qualities , a body ; and with respect to qualities of all forts , a fubject : it is termed a paffive fubject with respect to an action exerted upon it ; an object with re- spect to a percipient ; a cause with respect to the effect it ...
... qualities , a body ; and with respect to qualities of all forts , a fubject : it is termed a paffive fubject with respect to an action exerted upon it ; an object with re- spect to a percipient ; a cause with respect to the effect it ...
Page 437
... Qualities ) primary and secondary i . 259 . A quality cannot be conceived independent of the subject to which it belongs ii . 293. Different qualities percei- ved by different fenfes iii . 376 . Quantity ) with respect to melody ii ...
... Qualities ) primary and secondary i . 259 . A quality cannot be conceived independent of the subject to which it belongs ii . 293. Different qualities percei- ved by different fenfes iii . 376 . Quantity ) with respect to melody ii ...
Other editions - View all
Common terms and phrases
abſtract action Æneid againſt agreeable allegory alſo appears arts beauty becauſe beſt betwixt caufe cauſe cenfured chap circumſtances compariſon compofition confidered connected courſe deſcription difagreeable diſtinguiſhed effect emotions employ'd Eneid epic poem epic poetry Euripides expreffed expreffion fame fenfe fenfible fhall fignify figure fimile firſt fize fome ftill fubject fuch garden grandeur hath himſelf hiſtory houſe Iliad imagination impreffion inftances inſtead itſelf ject language laſt leaſt lefs leſs meaſure metaphor mind moſt Mozambic mufic muſt nature neceffary obfcure obferved objects occafion ornament paffage paffion Paradife Loft pauſe perfon perfonification pleaſant pleaſe pleaſure preſent principal proper proportion purpoſe raiſed reaſon regularity reliſhed repreſentation repreſented reſemblance reſpect Richard II ſay ſcarce ſcene ſeen ſenſe Shakeſpear ſhall ſhould ſmall ſome ſpectator ſpeech ſtage ſtandard ſtate ſtill ſuch tafte taſte termed thee thefe theſe thing thoſe thou tion tragedy uſe word