Contemporary Essays

Voorkant
William Thomson Hastings
Houghton Mifflin, 1928 - 416 pagina's

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Pagina 125 - ELIOT year; and the historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order.
Pagina 126 - ... to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new. Whoever has approved this idea of order, of the form of European, of English literature will not find it preposterous that the past should be altered by the present as much as the present is directed by the past.
Pagina 165 - I am he that walks with the tender and growing night, I call to the earth and sea half-held by the night. Press close bare-bosom'd night — press close magnetic nourishing night! Night of south winds — night of the large few stars! Still nodding night — mad naked summer night.
Pagina 259 - ... the glory of Europe is extinguished for ever. Never, never more, shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom. The unbought grace of life, the cheap defence of nations, the nurse of manly sentiment and heroic enterprise, is gone...
Pagina 157 - I am not blind to the worth of the wonderful gift of "Leaves of Grass." I find it the most extraordinary piece of wit and wisdom that America has yet contributed.
Pagina 134 - But very few know when there is an expression of significant emotion, emotion which has its life in the poem and not in the history of the poet. The emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done.
Pagina 83 - ... it is only through an unremitting never-discouraged care for the shape and ring of sentences that an approach can be made to plasticity, to colour, and...
Pagina 166 - ... cool-breath'd earth! Earth of the slumbering and liquid trees! Earth of departed sunset — earth of the mountains misty-topt! Earth of the vitreous pour of the full moon just tinged with blue! Earth of shine and dark mottling the tide of the river! Earth of the limpid gray of clouds brighter and clearer for my sake!
Pagina 129 - It may partly or exclusively operate upon the experience of the man himself ; but, the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates...
Pagina 370 - The friend of D'Ambois, before fierce L'Anou ; Which D'Ambois seeing, as I once did see In my young travels through Armenia, An angry unicorn in his full career Charge with too swift a foot a jeweller That watch'd him for the treasure of his brow, And, ere he could get shelter of a tree, Nail him with his rich antler to the earth, So D'Ambois ran upon reveng'd L'Anou, Who eyeing th...

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