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1. The lamb thy riot dooms to bleed todayHad he thy reason, would he skip and play?Pleased to the last he crops the flowry foodAnd licks the hand just raised to shed his blood,The blindness to the future kindly given.Essay on Man. ' '; ' ' '' : ' ' , , ' ' ' :' , , , - - , , , , : , , , - : , , ? , , , , , , , , , , , ' ! !' ' ! !' ; , '' ''

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-- - , , : , - , - (1) ( ) (2) ( ) , , , - - - , , , , , , , , , , , , , , , , , '' ; '' ? ; ? ? '' ? , ; , , : - - , , '' - , ( ) , : , , () , '' '' '' '' ; , , , ? ; ; ; , , - '' '' ( ) : , , , , , , , : -(1) (2) ( : ) ; , , , ; ; -' !' - , , - , , , , - , , , , , , , , , , , , ? , - , , , , , : ; ( ) , , , , , ? ? , , ; , , , 1 - , , , , ; , , , '' - 2 3 - , , , -, -, - - , : 1. ' ' 2. : -, 1/813. , -, 372 ; , - - , : -, , 42 , , - - - ? , , , , , , , , , , , : , , , , , , '' , , , , : ' ' : '' : : - - , , , , : ; , : : , , , , ; , ( ) , - , - ( 1) ( 2) : , , , ; ; , , , - : : : 1 - , () () - , : , -- ; , , - - : - , -' ' ' 1. , , , , ; ' , : : - , - '! ! !' , , , , () ; , , () ; -' ' : - ; , , - , , - '' ; - - - - , , , - - : : : : , , , : - : - - , '' , ' ' , , , , - : : : : : - , '' , , - : - : , , (=, ) - () ( ) (= + + =; =) - ' ', ' ' ! , , - , - , , ? '' , ' ' ? ' ' ; '' '' , '' , , -- ; , , '' ; , , , ' ' , - , ? ? , , ' , ', , , - , ! , ' ' , '' , , , ? '' '' - , , , , , , ' ' - , ! , , , , '' , '' - '' - , , , '' '' , , , , '' - , ; ' - ; , ; ; , ; ; ;'' , , - ; ; , - , , ; - ; , ! , - , ! , - ; - , ! , , , , , , , , , , , , , '' '' () , , ; - ' , , ' -' , , - , - !' , , '' 1 , , , , , , , 2 - -' ' ; ' ' , , 1. : : - 2. : : : : -, 1-15 '' '' , , , , , , , , , , ! ? , , '' , , , - '' , - , , , , - , - , , '', '', '' '' '' '' , '' () '' '' , - , - ? '' , '' , , , , , , , , - , , , , , , - , , , , , , - , , , , , '' , * , , , * - , - , ; , , , , , , ; , , ; ; ;, , , , , , ; ' ' '' - , - , -() ; ; ; , ; , ; () - - - ; ; ; , - ; - -- ; ; ; - , ' ' ; '' '' - , , : , , , , , , , , , ' ' - ' , ' ; ? ; '' ' ' , ' , , ' , '' , ( ) ' ' , , , - - '' , - , '' , , , , , , - ' :' - , - , , , , , - ; -' ' -' , ' ; : , , - ; , , , - , , , , () '' - , , - - , - '', '' , , ( ) , , , , , , , , '' - '' '' , , , - , ' ' , : - , - , - : : :: - , '' , , , , ; , , , , , , , , , - ; , , ; - ; '' 1 - - 2 , , - '' 1. , , 32/22. , 26 , , , ; , - ? - , ? ? , , , , , ? , , , , , : , , , , , , , , , , , , , , , , '! ?' : , ? -, - - ; - - , - - '' , ; - '' , , ' ' ; - - ? ! - - - , , , - , , ; - , -- , - , : - - , - , - ; ; -' !' -' , ' ; 1 , , , 1. , ' ' , - - ! ! ? ! , ! ,, - 1 '' , , '' - , ? , ? , , ? , '' - - , , , , ;, , , 1. , ' ' , , , , , ? : , ? - , , , , - () () : : : : - , , - , , !

'' '' '' : : - , , , , , , , '' : , - , - : : , () '' '' - '' : -- - - - : : '' - : '' '' , , ; , - -' 1' , , - , ' ' , '' '' '' '' , '' '' , '' - (1) () (2) '' (, ) (3) 1. , 1 ( ) ( , , ) '' '' : '' - - , - ; ; , , , - , , , , , '' '' ; : , : , : , - - , - '' - - , - - -'! - , ' ' ' - :1 ' , , , , , , , ' ' , - - - ; , , - 1. , , 148 '' '' '' - : : , : - , '' , '' -, , , , , '' , , , , '' , '' - , , , , , - '' - - -, , , , , -, , , - : - '' '' - '' '' '' - () '' '' , , , : '' '' , , , , , -, , , , -, , : - , '' '' '' - ; , , : , , , - '' , : , , , , , , , , -- '' '' - (1) -- (2) - - '' , : '' 1 '' - '' -: -( )1. , ' ' '' , : - , , , - - - -, 72 - ( ) ( ) ; ( ) '' , , , , , 1 '' '' (Static) 1. , , , - , 908 (Dynamic) '' , '' , , , - '' , ' ' '' , , '' '' ' ' : , , -' '-() '' '' '' '' (Love) 1 '' - ' ', 1. , ' ' ; , '' '' - : - '' : , '' - , - '' , - 1 1. - (1) We are angry at the open insult and i perhaps moved to enduring hatred by the obnoxious and in scrupulous enemy. Page 351. (2) When anger is deliberate and, develops hate. Shand Page 37. , , , '' - - , - , - '' '' ' '1 , ? : '' ( ) '' ( , ) : - - 1. : ,, , 191 - , , '' '' : : '' , , , - , , , , , , '' ( , ) '' ( ) - '' : : : : : 1 '' ( '' ) , : ; : , , '' , - - , , , '' , - : , : - , , 1. : : : -, , 174 , ; , , 1 ' ' ' ' , '' '' ? ? '' , '' : : :, () 1. Interest transfered from the end to the means. '' ? ? : : : '' : -, - , , , , () , , () , , '' ' ' : ' - ' ' ' ' ( ) ( ) : , '' -, , , , ; , - '' '' , , , , () '' ' ' : ( ) : '' '' , ; '' '' ( ) , '' '' ; ' ' , '' (, ) , '' , '' '' , '' , , - - '' - '' , - -' , , ' - , , , , , , , , ' '--100

- , , : - : , , , , , , , , , , , , , : - '' '' '' , '' '' - (1) : ? (2) : ? : , : ? '' 1 2 , , '' : , '' , '' 1. : -, 3, 2452. The cases in which there is something requgnent in an object which is at the same time felt as wonderful and where in the rapugnancy is only in part counteracted are exceptional. The wonderful is ordinarily an object of delight. Hence it is that we find the terms 'admiration' and 'wonder' often combined. Shand (Foundations of Character) ( ) '' - , - , 1 : - - , - , , '' ? '-' 1. : -, 3-216 , -

- , , , , - 1 , , ' ' '' 1. - - - - , '' : : , '' -, :, : ,, ,, ,, ,,,, , , ,,,,, ,, ,, ,, ,, ,, ,, ,, ,, , : : : : : ; , - , : - - , , - (, ) - , : , - , ; , - - ; ' ' ' ' : '' '' '' : - - - : - , , '' , : , , , , , , , - ( ) - : : -, '' ', '1 - , : : - , , - (1) , , , (2) ', 1. : -, : ' , '' -- - : - '' '' '' , :

-, '' : ; ; , , , , , , , , , , , , '' , : : , , '' (Self love) ' ' -

'' , , , , , , , : , - , , , , , , , '' - , , 1 ''2 , : - 3 '' 4 : '' ; '' : , , , , , , , , 1. : -, 6-1562. : : -, 3-1-643. '' 4. : : -, 3-167 ; , , , , ; ; , 1 :, 2 : , ,

: , , , : , , , , , , ? ' ' '' , : '' : () '' - '' - , : '' '' ' ' 1.: : - 3-165 2. : - 3-176 '', '' , 1 : ' '' 2' , , - () - , 82 () - , 681- :- , 21- 31. '' , 122. Our personality does not seem to be the sum of the dispositions of our emotions and sentiments. These are our many selves; but there is also our one self. This enigmatical self which reflects on their systems, estimates them, and however loath to do it, sometimes chooses between their ends, seems to be the cetral fact of our personlity. If this be the fact, it is not the kind of fact which we can take into accont. The science of character will be the science of our sentiments and emotions-of these many selves, not of this one self. The working assumption of our science must be the acceptance of this law-All intellectual and voluntary processes are elicited by the system of impulse, emotion or sentiment and subordinated to its end- Shand (Foundations of Character).3. ; - , 171-() , -, 10-20 () : : : -, ; , '' , , , '' - , ' ' , ' ' , ' ' '' ; '' , - () , , , -, , 30 () , -, , 34 '' '' - , '' '' -: : : : , :- , 58, 16 -- , : , -, 60, 8-9 , , - -, , 1 : '' '' '' 33 , ''

, , , - '' '' - , , , - , , , , - - , , ? '' '' , , : , ( ) 1 '' - - , '' : - () , ; , : , , , -, 113 () ? ? ? ?-, 72 : - , - , -, 76 '' 1. , , --, 262 1 - - , '' '' : - , ' , , , ' '' '' '' : , '' '' - '' '' , , '' 2 , - 1. : , 2-1462. , , 131, - , - ' ' , : : , '' '' ? '' , : '' '' : '' ' ' - - -- -, , 1 '' '' - '' '' '' '' '' : , - , ' ' '' - : : , ' ' : '' '' : : - - - , : '' '' '' - '' - 1 '' : 2 - , , -: 3 1. : -, 3-1482. : : -, 3-1503. -, 3-73 , , , 1 - - - ? - ' ' () - ? - - , : '' :, '' : , , 2 : 1. -, 3-1552. - 3-170 '' : '' '' , , , 1 - : ' ' '' ! - - '' - '' '' '' '' '' - 2 : , , , '' '' , -1. : : -, 3-1602- , , 23 : -, , , 164 '' , : - - , ! - 331 '' '' -: , - , , - , , , 1-, - , ; , 2; 1. : : -, 3-1692. : : : -, 152- - , , '' , -, 5-378 - '' , '' : - , - , ' ', ' ' ''

'' '' - , 1 - , - , - , - - : , - - 1. : :- 3-146 - - '' ? , : , - - , , , '' ( ) -' , , , ' , , , - , , 12 - - : ! '' , , ( ) - - , ; , , , (, ) ( ) - , , , 1 , ? , - : (, ) -, , , , , , , ; , ; , , , '' - , , - - - -- , , , , , 1. , - , 374 , , , - - - (1) (2) , , -, , 84 ' ' , '' , ' , 1' , : , 1. - , , , 2-13 ? : '' : : - , : : , , : - (1) (2) , (3) - : : - - , - , - '' , , , , - - - ,

, ; - -- ' ' , , - ( ) , () () , , -, '' '' , - () -, 4-46 () , , 1 '' '' - : '' , - , , , 2 1. - :: : - , 2672. - , , , -, - - - -- - , , , '' '' - '' '' - : : ' , : ' - (1) , (2) : - : - , : -- - , , : - - - ' , ! ? ! ! ? ! ! ''1 , , , , , , ? - - - 1. , : , , : , : : , : , : -, 3-267 : , - -, 3-267 '' - , , , - - , , - - ' ' - -, , :

- (1) , (2) (3) : ( ) : , , (Imagery) : : , - , , (Imagery) , , - () , - () ? - () ! - - : , , , , , : , , : : , , : , - - , ( , ) - -, , , , , ? , , , , ,

? --

: - , - 1 - - , : - , , , 1. , ' ', , , : , - , '' , , - ! - - - - - - '' '' ,

, , , , , , , , - ; , , , , , - , , -- , , : - 1. 2. 3. ; ,

, , , , ; - ; , , -- - : - -- '' , , ; , - ,1 , : , 2 () : , ; ( ) - 1. , , 162. () - () - ; , - ' ; , ! [ ] - ' ' ' ' , -, , , - , , - , '' (Play impulse) '' ? 64 , , , , , ; : '' , , , ; , - ; - - , : : , , - - - ? ? : , 1 ; '' () - - : , ; ; : (Impersonality and Detachment) ( ) ' ' 1. -' '1. -' '2 , - -- - : : - (1) , (2) ' ' , 1. Poetry is a Spirit-Bradley.2. Poetry is a continuous substance or energy whose progress is immortal-Mackal.- , , , - , : '' -, - , - 1 , '' -: , , , 2 , , , : : , '' 1. ' ' 2. (I.A. Richards) - , - There is no such gulf between poetry and life as over literary persons sometimes suppose. There is no gap between our every day emotional life and the material of poetry. The verbal expresion of this life, at its finest, is forced to use the technique of poetry. .........If we do not live in consonance with good poetry, We mustlive in consonance with bad poetry, I do not see how we can avoid the conclusion that a general insensitivity to poetry does witness a level of general imaginative life.Practical Criticism (Summary) - -- ' ' : : - - : , , , - ; , '' '' , , '' '' '' () ' ' 1 ' '2 1. ' ' 2. Our sweetest songs are those that tell of sadest thought. To a Skylark. ? - - , - - , ? ; - ; :

- , , , ' ', ' ?' , - '' -() () ()

, ; , '' ; , - - : , (:) , ' ' , , - , - , ? , , - , - ? , , , , : - , - - , -

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- , - ; - - () , - - - , ' , ; ' , 1 - , , , , , , - - , , , , - , - , , : - , , - ' , , 2 , : 1. ' ', 2. , ' ,' ; - ; ; - ; ' ' , , ; - - , ; , , , , : ; ? - -: , , 1 , , , : , - - '' : , 1. ' ', 1 : , - ; , , , , , , , , - - - , 2 , , - - 1. , , 2. , : - 1 -- , 2 ; : ? - -- - : --: -: -, , , - -- , , , - , , : , 1. ' , 2. , , , , , , 1 : , ! , , '' '' '' '' - , '', '' , , , ; 21. , 2.

- ' ' , , , , , , : , , 1 , - 1. , , , , , , , - -- , , ' - - ' , , , , , , - , , , , : - 1 , , ,, ; , , , , , , , , , -, - - 1. , : ' ' , , 64 , '' -, , , , - ; , , , - 1 , , , , - , ; 1. -, 3-12 , - (1) (2) , , , (3) , '' (4) (5) , (6) , - (1) : () (2) , ! (3) , -- (, - ) , (4) ( ) (5) - ; , (6) - (1) (2) , , (3) (4) ! (5) , ! , (6) - (1) = = = (2) = = (3) = ( ) (4) = () ; ( ) (5) =- = (6) = -- , -, , , - -, , , - '' , , , , , , , , , , , , , ( ) , , , , ; , , , , , , , , , , , , ; , , , , , , , , ,

- (1) (2) 1 - , , , , 2 - , , 1. - , , , , , , , , , , 2. ' ', ; , - -, , 17 1 , - '' ; : , , , , - , 1. : : : , : :-, 2-3 , , - , , ; , , , , - ; : - , : , 1 - , - ' ! , , , 1. -, : '1 (Tennyson) (Browning) - (Emily Dickinson) (Robert Nickols), (Sacheverell Sitwell) (Laura Riding) (Robert Graves) (A Servey of Modernist Poetry) , - , - 21. Motion and Means on land and sea at war With old poetic feeling, not for this Shall ye, by poets even, be judged amiss Nor Shall your presence, howsoe'er it mar The loveliness of Nature, prove a bar To the mind's gaining that prophetic sense Of future change, that point of vision, whence May be discovred what in soul ye are.2. The modernist poetry can appear equally at all stages of historical development from Wordsworth to Miss Moor. And it does appear when the poet forgets what is the correct literary conduct demanded of him in relation to contemporary institutions (with civilization speaking through criticism) and can write a poem having the power of survival inspite of its disregarding these demands, a poem of purityof a certain old fashionedness of reaction against the time to archaism or of retreat to nature and the primitive passions. All poetry that deserves to endure is at once old fashioned and modernist. The relation of a poets poetry to Poetry as a whole and to the time in which it is written is the problem of critcism; and if this problem becomes part of the making of a poem, it adds to the unconscious consciousness of the poet when he is in the act of composition, an alieu elementa conscious consciousness what we may call the historical effort.A survey of modernist poetry '' '' , '' : , , , , '' '' - -, , '' '' '' (Benedetto Croce) '' (Intuition)- , : 1 , '' - - 1. Matter is emotivity nor aesthetically elaborated i.e. imprression. Form is elaboration and expression Sentiments or impressions pass by means of words from the obscure region of the soul into the clarity of the contemplative spirit.Aesthetics. - '' , '' ; '' , '' - , - , -, (Images) ; (Concept) '' ; 1 , ' ' '' 21. (Expressionism) (Benedetto Croce) - -() Intutive knowledge, knowledge obtained through the imagination, knowledge of the individual or of individul things, () Logical knowledge, knowledge obtained through the intellect, knowledge of the universal,' knowledge of the relations between individual things. Aeshetics by Benedetto Croce.2. -- '' '' , '' (Symbolic aspect) : (Presentative aspect) -It is however, to be regretted that during the last 500 years the Nyaya has been mixed up with Law Rhetaric etc. and thereby has hampered the growth of those branches of knowleqe upon which it has grown up as a sort of parasite. Introduction (The Nyaya Sutras) '' , : () '' '' , , - , - - , , , , - '' ( ) ( ) ( ) , ( ) , , , , , - - , - , ; , , -- ; , : -- : , : (-, ) ; , , , , , , - , ( ) , , , : : - (1) ; (2) ; (3) , , , - - , , : , , , , - (Theodore Watts Dunton) (Dramatic or Absolute vision) : - ; , : ' ' ? : : , , ' ' - - , - ; 1 (Renaissance) , - 1. After Shellys music began to captivate the world certain poets set to work upon the theory that between themselves and the other portion of the human race there is a wide gulf fixed. Their theory was that they were to sing, as far as possible, like birds of another worlds. It might also be said that the poetic atmosphere became that of the supreme palace of wonder-Bedlam. Bailey, Dobell and smith were not Bedlamites, but men of common sense. They only affected madness. The country from which the followers of Shelly sing to our lower world was named Nowhere.Poetry and the Renaissance of Wonder by Theodore watts Dunton. , ; , - - '' - , - '' ? - '' - '' '' '' , - , '' , , - - , '' (Romantic Movement) , ? ; - ' ' ! - '' -- '' '' ' ' 1 ; (Symbolism or Decadence) - 10 12 1. - ' ' , , - A sensitive plant in a garden grew and the young winds fed it with silver dew - ' '(, , , 1930) ' ' , , , , - - , , , ; , , ' ' (Expressionism), (Georginaism), (Imagism), (Impressionism) (New Classicism) '' ' ' ' ' - (Rupert Brooke) - -, -, , , -, - - , ; 1915 (Harold Monro) ' ' . . (walter De La Mare) , , (Imagism) (F.S. Flint) ' * Wherever attempts at sheer newness in poetry were made, they merely ended in dead movements. Criticsim became more dogmatic and unreal, poetry more eccentric and chastic.A Survey of Modernist Poetry, by Laura Riding and Robert Graves, (1927) ' 1909 (Hilda Doolittle H.D.) (Rechard Aldiagton) , - , : - , (Concrete) , (Abstract) (Descriptive) (Philosophical) , - : 1884 (Encyclopaedia Britanica) - Absolute poetry is the concrete and artistic expression of the human mind in emotional and rhythmical language. ' ' (Impressionism)- , '-' '-' , '-', '' '', '', '', '' - , ! , (, 186)[ ] - -' ' [ ] - (E.E. Cummings) , , , , - - - ( ) - -1 - '' * Stinging gold swarms upon ahe spires silver - chants litanies the great Bells are ringing with rose the lewd fat bells and a tall wind is dragging the sea with dream S , - The lines do not begin with capitals. The spacing does not suggest any regular verse form, though it seems to be systematic. No punctuation marks are used. There is no obvious grammar either of the prose or of the poetic kind. It seems impossible to read the poem as a logical seqence. A great many words essential to the coherence of the ideas have been deliberately omitted: and the entire effect is so sketchy that the Poem might be made to mean almost anything or nothing. The heavy alliteration in S in the first seven lines, confirmed in the last by the solitary capitalized S, cannot be discarded. The first word Stinging, taken alone suggests a sharp feeling. In the second line swarms developes the alliternation, at the same time colouring Stinging with the association of golden bees, Silver brings us back to the contract between cold and warm in the first and second lines (Stinging suggest cold in contract with the various suggestions of warmth in the gold swarms) because silver reminds one of cold water as gold does of Warm light. Two suppressed S words, both disguised in silver and gold, are sea and sun, Sea itself does not actually occur until the twelfth line, when the S alliteration has flagged : separted from alliterative association it becomes the definite image Sea and the centre around which the poem - - - , - , , , , ; , - '' '' , '' '' , '' '' '' '' '' '' '' '' '' '' , , ? '' '', is to be built up. But once it has appeared there is little more to be said; the poem trails off, closing with the large S echo of the last line. The hyphen before this S detaches it from dream. In a realistic sense S might stand for the alteration of quiet and hiss in wave movement.A Survey of modernist Poetry'' -- - - , , ? ? '' '' '' '' ' '' ( ), '' '' ( , ) '' ( )'1 '' '' ' ' ; ' ' '' ( ) '' '' , , 1. The modernist poet does have to issue programme declaring his intentions toward the reader or to issue an announcement of tactics. He does not have to call himself an individualist (As the Imagist poet did) or a mystic (As the poet of the Anglo-Irish dead movement did) or a naturalist (as the poet of the Georgian dead movement did).A Survey of Modernist Poetry. , - '' ' ' , '' '' '' (Sentimentality) ? '' - , , , , , ? '' , , , - : , -

- -- , (Expressionists) '' '' ( ) ; , , '' ' , - '' ' ' , ? , , , , - - - ? (Sentimentality) - , , ? , , , , : , , '' ; , , -- -- , , : , , , , , , , - -- , , , , , , , , , , , - , , - (Simbolic) -, , , , , , ; ; ; , ; ; ; , , , ; , ; ; , , - (1) , , (= = ) (2) - , - -, --'' (3) , / ( ) (4) , , , - , ! , ! , ! , ! , ! , ! , ! , !- , ! , ! , ! - -, , - , , , - , - (1) / , ,/ , ;/ - - (2) , , - ' ' - ( ) - (3) , , 1 - 1. [ , 30-31 ] - , , : ; , , , , , , , ; - , , - : , - '' , , , , ! , , - - , , : , : , , -- , ' ' ' ' ' ' , , , - , ; : () , , '' , : : , , - , , , , [ ] , '' ' ' - ; - - , ; ( ) : - -' (Imaginiation is joy) , '' '' '' ; '' '' , '' '' - , - , , , - , - , - , * Dejection Ode, 4th April, 1802, G, W. Mackaels Lectures on Poetry, - , - , , , , - , , - - : - - - - , - ; - ! ? , , , , - ; - ! - , , , , , , ! ? - - - ! , - - -, - , , , , -, , ( , , , , ) , , , - - , , , , , , - , - (1) (2) : (3) -, , ; , , , - , : : ' , ' ! , , '' - - '' , - - '' , , '' , , : : - , '' '' , , , - , , , , , '' - : , , - - , - ' ' '-' - '-' ; - - - - '- - - '1 ; , - - () - ' ' ( ) , , (Imagery) , 1. : - - (Symbolic) (Presentative) , : , , , , , , , , , - : , , - - , , ' ' ' ' '' '' 1 , , , , ' ' - - - : 1. - : - ; , '' ; - - ' ' -(1) () , (2) (3) , , , -' ' ' ' ' ' ' ', ' ' (Hypallage) ; '' '' -' ' '' '' - , (Metonymy) , (Synecdoche) - , : -, , - ( ) - , ; , -' - ' - '' ( ) , - ; , ''