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Aeschylus aesthetic aims allow appears architecture artistic beauty become body called carried changes character color combination comic common complex consciousness contrast created creative dance decorative effects emotional enjoy example experience expression facts feeling figure force gained give given Greek human idea ideal imaginative impression individual intensity interest interpretation lack laughter less light lines living look mark mass material matter means mechanical method mind mood moral move movement nature objects offers organization original painter painting patterns picture play pleasing pleasure poet poetry possible practical present problems psychic pure question range reading relation rendering response reveals rhythm rhythmic scheme sculpture seeks seems sense shaping shows simple Sketch social space spirit sublime suggests technique theory things thought tion tragedy tragic true turn types values varied vision visual
Page 180 - For the poet is a light and winged and holy thing, and there is no invention in him until he has been inspired and is out of his senses, and the mind is no longer in him: when he has not attained to this state, he is powerless and is unable to utter his oracles.
Page 169 - And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored...
Page 167 - Thy hair soft-lifted by the winnowing wind; Or on a half-reap'd furrow sound asleep, Drowsed with the fume of poppies, while thy hook Spares the next swath and all its twined flowers...
Page 168 - The moving waters at their priest-like task Of pure ablution round earth's human shores, Or gazing on the new soft fallen mask Of snow upon the mountains and the moors :— No — yet still steadfast, still unchangeable, Pillow'd upon my fair Love's ripening breast To feel for ever its soft fall and swell, Awake for ever in a sweet unrest; Still, still to hear her tender-taken breath, And so live ever, — or else swoon to death.
Page 180 - For all good poets, epic as well as lyric, compose their beautiful poems not by art, but because they are inspired and possessed. And as the Corybantian revellers when they dance are not in their right mind, so the lyric poets are not in their right mind when they are composing their beautiful strains: but when falling under the power of music and metre they are inspired and possessed...
Page 302 - We have shown that the pleasure of wit originates from an economy of expenditure in inhibition, of the comic from an economy of expenditure in thought, and of humor from an economy of expenditure in feeling.
Page 186 - It lies in heaven, across the flood Of ether, as a bridge. Beneath, the tides of day and night With flame and darkness ridge The void, as low as where this earth Spins like a fretful midge.
Page 180 - God. Beat me and hammer me into a steel spike. Drive me into the girders that hold a skyscraper together. Take red-hot rivets and fasten me into the central girders. Let me be the great nail holding a skyscraper through blue nights into white stars.