A Short History of American Literature: Based Upon The Cambrdige History of American LiteratureWilliam Peterfield Trent, John Erskine, Stuart Pratt Sherman, Carl Van Doren Putnam's, 1922 - 428 頁 |
搜尋書籍內容
第 1 到 5 筆結果,共 56 筆
第 19 頁
... prose , he applied the right incentive by pointing out where the work " fell short in elegance of expression , in method , and in perspicuity . " " About this time , " says Franklin in a familiar paragraph , " I met with an odd volume ...
... prose , he applied the right incentive by pointing out where the work " fell short in elegance of expression , in method , and in perspicuity . " " About this time , " says Franklin in a familiar paragraph , " I met with an odd volume ...
第 48 頁
... prose , the author utilized , as the pathway and inspiration for his imagination , the great river of which he was so fond . If Irving's descriptions of rural England were to give fresh interest to American readers in the old home of ...
... prose , the author utilized , as the pathway and inspiration for his imagination , the great river of which he was so fond . If Irving's descriptions of rural England were to give fresh interest to American readers in the old home of ...
第 58 頁
... prose , are elementary , - common property of simple minds . His metaphysics was predominantly that of the Old Testament : God is the Creator and His works and His purposes are good . Bryant communi- cated , however , little sense of ...
... prose , are elementary , - common property of simple minds . His metaphysics was predominantly that of the Old Testament : God is the Creator and His works and His purposes are good . Bryant communi- cated , however , little sense of ...
第 65 頁
... prose narrative ( which in their wooden arrangement , dull plot , and stilted characteriza- tions are of a piece with the American short story before Poe and Hawthorne ) , tells , in simple chronological order , of one simple type of ...
... prose narrative ( which in their wooden arrangement , dull plot , and stilted characteriza- tions are of a piece with the American short story before Poe and Hawthorne ) , tells , in simple chronological order , of one simple type of ...
第 66 頁
... prose ; that his rhymes were dignified , sonorous , exact and emphatic rather than subtle or allusive , and narrow in range not from artistic poverty but because the rhyme vocabulary of the simple and serious moods is in English itself ...
... prose ; that his rhymes were dignified , sonorous , exact and emphatic rather than subtle or allusive , and narrow in range not from artistic poverty but because the rhyme vocabulary of the simple and serious moods is in English itself ...
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American English American literature appeared Arminians artistic beauty Boston British British English Bryant career century character Cooper criticism death dialect doctrine early Edgar Allan Poe edited Edwards Emerson England essays Europe evil experience fact father feeling fiction Franklin French friends Hawthorne Henry Henry James Holmes Houghton Mifflin Howells human humour ideals ideas imagination influence intellectual interest Irving Irving's James John Greenleaf Whittier language later less letters Lincoln literary lived Longfellow Lowell Lowell's Mark Twain ment mind moral narrative Nathaniel Hawthorne nation Natty Bumppo nature never novel passion perhaps period philosophical poems poet poetic poetry political prose Puritan Ralph Waldo Emerson reader romance seems sense short story soul speech spirit style theme things Thoreau thought tion Transcendental Uncle Remus verse vols volume Walt Whitman Whitman Whittier words writing wrote York youth
熱門章節
第 94 頁 - A skilful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived with deliberate care, a certain unique or single effect to be wrought out, he then invents such incidents — he then combines such events as may best aid him in establishing this preconceived effect.
第 314 頁 - In the whole composition there should be no word written, of which the tendency, direct or indirect, is not to the one preestablished design.
第 110 頁 - DAUGHTERS of Time, the hypocritic Days, Muffled and dumb like barefoot dervishes, And marching single in an endless file, Bring diadems and fagots in their hands. To each they offer gifts after his will, Bread, kingdoms, stars, and sky that holds them all. I, in my pleached garden, watched the pomp, Forgot my morning wishes, hastily Took a few herbs and apples, and the Day Turned and departed silent. I, too late, Under her solemn fillet saw the scorn.
第 211 頁 - I am now the most miserable man living. If what I feel were equally distributed to the whole human family, there would not be one cheerful face on the earth. Whether I shall ever be better, I cannot tell ; I awfully forebode I shall not. To remain as I am is impossible ; I must die or be better, it appears to me.
第 213 頁 - The will of God prevails. In great contests each party claims to act in accordance with the will of God. Both may be, and one must be wrong. God cannot be for and against the same thing at the same time. In the present civil war it is quite possible that God's purpose is something different from the purpose of either party; and yet the human instrumentalities, working just as they do, are of the best adaptation to effect His purpose.
第 123 頁 - Line in nature is not found; Unit and universe are round ; In vain produced, all rays return ; Evil will bless, and ice will burn.
第 109 頁 - Though love repine and reason chafe, There came a voice without reply: " 'Tis man's perdition to be safe, When for the truth he ought to die.
第 14 頁 - All theory is against the freedom of the will; all experience for it."— I did not push the subject any farther.
第 5 頁 - The God that holds you over the pit of hell, much as one holds a spider, or some loathsome insect, over the fire, abhors you, and is dreadfully provoked: his wrath towards you burns like fire; he looks upon you as worthy of nothing else, but to be cast into the fire...
第 129 頁 - Sin has educated Donatello, and elevated him. Is Sin, then — which we deem such a dreadful blackness in the universe — is it, like Sorrow, merely an element of human education, through which we struggle to a higher and purer state than we could otherwise have attained? Did Adam fall, that we might ultimately rise to a far loftier paradise than his?