A philosophical enquiry [&c.].1827 |
From inside the book
Results 1-5 of 23
Page 14
... figure . What he admired at different times in these so different figures , is strictly the same ; and though his knowledge is improved , his Taste is not altered . Hitherto his mistake was from a want of knowledge in art , and this ...
... figure . What he admired at different times in these so different figures , is strictly the same ; and though his knowledge is improved , his Taste is not altered . Hitherto his mistake was from a want of knowledge in art , and this ...
Page 15
... figures , and which the painter who had not made such accurate observations on shoes , and was con- tent with a general ... figure . Here the anatomist observes what the painter had not observed ; and he passes by what the shoemaker had ...
... figures , and which the painter who had not made such accurate observations on shoes , and was con- tent with a general ... figure . Here the anatomist observes what the painter had not observed ; and he passes by what the shoemaker had ...
Page 16
... figure ; the sympathy proceeding from a striking and affecting incident . So far as Taste is natural , it is nearly common to all . In poetry and other pieces of imagination the same parity may be observed . It is true , that one man is ...
... figure ; the sympathy proceeding from a striking and affecting incident . So far as Taste is natural , it is nearly common to all . In poetry and other pieces of imagination the same parity may be observed . It is true , that one man is ...
Page 58
... figures are grand and affecting ; and though Virgil's Fame and Homer's Discord are obscure , they are magnificent figures . These figures in painting would be clear enough , but I fear they might become ridiculous . . SECT . VI ...
... figures are grand and affecting ; and though Virgil's Fame and Homer's Discord are obscure , they are magnificent figures . These figures in painting would be clear enough , but I fear they might become ridiculous . . SECT . VI ...
Page 69
... figures of the parts should be changed , the imagination at every change finds a check ; you are presented at every alteration with the termination of one idea and the beginning of another ; by which means it becomes impossible * Part ...
... figures of the parts should be changed , the imagination at every change finds a check ; you are presented at every alteration with the termination of one idea and the beginning of another ; by which means it becomes impossible * Part ...
Contents
9 | |
10 | |
12 | |
14 | |
15 | |
16 | |
17 | |
18 | |
26 | |
48 | |
51 | |
52 | |
53 | |
54 | |
55 | |
57 | |
66 | |
67 | |
68 | |
69 | |
71 | |
72 | |
73 | |
74 | |
76 | |
77 | |
78 | |
104 | |
105 | |
107 | |
108 | |
109 | |
110 | |
112 | |
113 | |
114 | |
115 | |
116 | |
117 | |
124 | |
125 | |
126 | |
127 | |
128 | |
130 | |
131 | |
139 | |
151 | |
153 | |
156 | |
157 | |
158 | |
168 | |
Common terms and phrases
admiration affected agreeable Albunea animals appear arises body called capable cause of beauty clear colours common complicated kind considerable considered darkness degree delight disposition emotion excite fear fect feeling figure fitness ginal give grand grandeur horror human ideas of pain images imagination imita imitation indifference infinite infinity inquiry kind light lively colours Lucretius manner means measures mind motion nature neral ness never object obscure observed occasions operate pain and danger painter painting papillæ particular pathy Phlegethon plea pleasing poetry positive pain positive pleasure Priam principle produce proportion purposes qualities quantity racters reality reason relaxation remarkable resemblance rience riety SECT sensation sense sensible shew sider simple smooth society sophism sort sound species strength striking strong sublime and beautiful suffer suppose sure sweet Taste terrible terror things tion tremely turally uniform unoperative violent whilst whole words
Popular passages
Page 54 - The other shape, If shape it might be call'd, that shape had none Distinguishable in member, joint, or limb, Or substance might be call'd that shadow seem'd, For each seem'd either; black it stood as night, Fierce as ten furies, terrible as hell And shook a dreadful dart; what seem'd his head The likeness of a kingly crown had on.
Page 119 - And ever, against eating cares, Lap me in soft Lydian airs, Married to immortal verse, Such as the meeting soul may pierce, In notes with many a winding bout Of linked sweetness long drawn out With wanton heed and giddy cunning, The melting voice through mazes running, Untwisting all the chains that tie The hidden soul of harmony; That Orpheus...
Page 56 - Less than archangel ruined, and the excess Of glory obscured ; as when the sun, new risen, Looks through the horizontal misty air Shorn of his beams, or from behind the moon, In dim eclipse, disastrous twilight sheds On half the nations, and with fear of change Perplexes monarchs.
Page 58 - In thoughts from the visions of the night, When deep sleep falleth on men, Fear came upon me, and trembling, Which made all my bones to shake. Then a spirit passed before my face; The hair of my flesh stood up : It stood still, but I could not discern the form thereof: An image was before mine eyes, There was silence, and I heard a voice, saying, Shall mortal man be more just than God?
Page 52 - And to things of great dimensions, if we annex an adventitious idea of terror, they become without comparison greater. A level plain of a vast extent on land, is certainly no mean idea...
Page 65 - Tremble, thou earth, at the presence of the Lord, at the presence of the God of Jacob; 8.
Page 56 - Here is a very noble picture; and in what does this poetical picture consist? in images of a tower, an archangel, the sun rising through mists, or in an eclipse, the ruin of monarchs, and the revolutions of kingdoms. The mind is hurried out of itself by a crowd of great and confused images, which affect because they are crowded and confused.
Page 109 - There is a wide difference between admiration and love. The sublime, which is the cause of the former, always dwells on great objects, and terrible ; the latter on small ones, and pleasing ; we submit to what we admire, but we love what submits to us; in one case we are forced, in the other we are nattered, into compliance.
Page 34 - When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible ; but at certain distances, and with certain modifications, they may be, and they are, delightful, as we every day experience.
Page 33 - WHATEVER is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terrour, is a source of the sublime ; that is, it is productive of the strongest emotion which the mind is capable of feeling.