The Complete Works of Samuel Taylor Coleridge: With an Introductory Essay Upon His Philosophical and Theological OpinionsHarper & brothers, 1853 |
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Page 20
... language which the contemplation of them would suggest to a pure and benevolent mind ; yet still neither we nor the writers call such a work a poem , though no work could deserve that name which did not include all this , together with ...
... language which the contemplation of them would suggest to a pure and benevolent mind ; yet still neither we nor the writers call such a work a poem , though no work could deserve that name which did not include all this , together with ...
Page 28
... language , so is little gained by the knowledge of it . But in the Greek drama all was but as in- struments and accessories to the poetry ; and hence we should form a better notion of the choral music from the solemn hymns and psalms of ...
... language , so is little gained by the knowledge of it . But in the Greek drama all was but as in- struments and accessories to the poetry ; and hence we should form a better notion of the choral music from the solemn hymns and psalms of ...
Page 35
... language formed out of the decayed Roman and the Northern tongues ; and com- paring it with the Latin , we find it less perfect in simplicity and relation - the privileges of a language formed by the mere attrac- tion of homogeneous ...
... language formed out of the decayed Roman and the Northern tongues ; and com- paring it with the Latin , we find it less perfect in simplicity and relation - the privileges of a language formed by the mere attrac- tion of homogeneous ...
Page 38
... language accordant . And there are many ad- vantages in this ; -a greater assimilation to nature , a greater scope of power , more truths , and more feelings ; -the effects of contrast , as in Lear and the Fool ; and especially this ...
... language accordant . And there are many ad- vantages in this ; -a greater assimilation to nature , a greater scope of power , more truths , and more feelings ; -the effects of contrast , as in Lear and the Fool ; and especially this ...
Page 39
... language may afford , of representing external nature and human thoughts , both relatively to human affections , so as to cause the production of as great immediate pleasure in each part as is compatible with the largest possible sum of ...
... language may afford , of representing external nature and human thoughts , both relatively to human affections , so as to cause the production of as great immediate pleasure in each part as is compatible with the largest possible sum of ...
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admirable appear Beaumont and Fletcher beauty Ben Jonson cause character Coleridge comedy common Don Quixote drama effect especially excellent excite expression exquisite fancy feeling genius give Greek Hamlet hath heart Hence human humor Iago idea images imagination imitation individual instance intellect interest Jonson judgment Julius Cæsar king language latter Lear Lecture less Love's Labor's Lost Macbeth means metre Milton mind moral nature never object observe original Othello pantheism Paradise Lost passage passion perhaps persons philosophic Plato play pleasure poem poet poetic poetry Polonius present principle produced reader reason religion Roman Romeo Romeo and Juliet S. T. COLERIDGE scene Schlegel sense Shak Shakspeare Shakspeare's Shaksperian soul speech spirit style supposed thing thou thought tion tragedy Trochee true truth understanding unity verse Warburton's whilst whole words writers
Popular passages
Page 110 - Amen, amen ! but come what sorrow can, It cannot countervail the exchange of joy That one short minute gives me in her sight : Do thou but close our hands with holy words, Then love-devouring death do what he dare, It is enough I may but call her mine.
Page 116 - This royal throne of kings, this scepter'd isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by Nature for herself Against infection and the hand of war, This happy breed of men, this little world, This precious stone set in the silver sea...
Page 103 - So many mermaids, tended her i' the eyes, And made their bends adornings ; at the helm A seeming mermaid steers ; the silken tackle Swell with the touches of those flower-soft hands, That yarely frame the office. From the barge A strange invisible perfume hits the sense Of the adjacent wharfs. The city cast Her people out upon her, and Antony, Enthron'd i...
Page 153 - My words fly up, my thoughts remain below : Words, without thoughts, never to heaven go.
Page 163 - Which would be worn now in their newest gloss, Not cast aside so soon. Lady M. Was the hope drunk Wherein you dress'd yourself? Hath it slept since? And wakes it now, to look so green and pale At what it did so freely ? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valour As thou art in desire?
Page 150 - I know my course. The spirit that I have seen May be the devil : and the devil hath power To assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, — As he is very potent with such spirits, — Abuses me to damn me: I'll have grounds More relative than this: — the play's the thing Wherein I'll catch the conscience of the king.
Page 161 - If chance will have me king, why, chance may crown me, Without my stir.
Page 305 - ... shall a trumpet be blown in the city, and the people not be afraid? shall there be evil in a city, and the Lord hath not done it?
Page 137 - O let me not be mad, not mad, sweet heaven ! Keep me in temper ; I would not be mad ! — Enter Gentleman.
Page 153 - A bloody deed! almost as bad, good mother, As kill a king, and marry with his brother.