Elements of Criticism, Volume 3Johnson Reprint Corporation, 1967 - Criticism |
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Page 140
... proper names . The familiarity of a proper name , is com- municated to the thing it fignifies by means of their intimate connection ; and the thing is thereby brought down in our feeling * . This bad effect is prevented by ufing a figu ...
... proper names . The familiarity of a proper name , is com- municated to the thing it fignifies by means of their intimate connection ; and the thing is thereby brought down in our feeling * . This bad effect is prevented by ufing a figu ...
Page 167
... proper when improper ; and taste , I fu- spect , is the only guide we can rely on . One however may gather from ... proper : but it is cer- tainly not proper in familiar conversation . In In the last place , though figures of speech have ...
... proper when improper ; and taste , I fu- spect , is the only guide we can rely on . One however may gather from ... proper : but it is cer- tainly not proper in familiar conversation . In In the last place , though figures of speech have ...
Page 379
... proper to say , I have a feel- ing of cold , of heat , or of pain ; and it is not less proper to say , I have a feeling of love , of hatred , of anger , or of any other paffion . But it is not applied to internal action : for it is not ...
... proper to say , I have a feel- ing of cold , of heat , or of pain ; and it is not less proper to say , I have a feeling of love , of hatred , of anger , or of any other paffion . But it is not applied to internal action : for it is not ...
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Common terms and phrases
abſtract action Æneid againſt agreeable alfo allegory alſo appears architecture arts beauty becauſe beſt betwixt caufe cauſe cenfured chap circumſtances compariſon compofition confidered courſe defined deſcription diftinguiſhed diſagreeable effect emotions employ'd Eneid epic poem epic poetry Euripides expreffed expreffion fame fect fenfe fenfible fenſe fhall fignify figure fimile firſt fize fome fpeech ftill fubject fuch garden grandeur hath Henry VI himſelf hiſtory houſe Iliad imagination impreffion inftances inſtead itſelf ject 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 principle proper proportion purpoſe raiſed reaſon regularity repreſentation repreſented reſemblance reſpect Richard II rule ſcarce ſcene ſenſe Shakeſpear ſhall ſhould ſmall ſome ſpectator ſtage ſtandard ſtate ſtill ſuch tafte taſte termed thefe theſe thing thoſe thou tion tragedy uſe words