The Whole Internal Universe: Imitation and the New Defense of Poetry in British Criticism, 1660-1830

By John L. Mahoney | Go to book overview
from deeper sources; in a word, all that constitutes the inward and esential activity of the soul" (p. 124).
5.
There has, of course, been a continuing debate among critics and translators concerning the precise meaning of purgation and whether that purgation takes place in the action of the play itself or in the audience viewing. See, for example, ibid., pp. 240-73.
6.
Pp. 35-50. See also McKeon, " Literary Criticism and the Concept of Imitation," p. 173: "after Plato and Aristotle, who judged literature primarily by reference to its object of imitation, there grew up a generation of critics, of numerous and long-lived progeny, who judged literature by considering its effect on the audience."
7.
See J. W. H. Atkins, English Literary Criticism: The Medieval Phase ( London: Methuen, 1952) and English Literary Criticism: The Renascence ( London: Methuen, 1947); Walter Jackson Bate, From Classic to Romantic: Premises of Taste in Eighteenth-Century England ( New York: Harper & Row, 1961); William K. Wimsatt and Cleanth Brooks , Literary Criticism: A Short History ( New York: Knopf, 1959).
8.
The Reader's Eye: Studies in Didactic Literary Theory from Dante to Tasso ( Berkeley & Los Angeles: University of California Press, 1979), p. 1.
9.
P. 92.
10.
An Apology for Poetry, or The Defense of Poesy, ed. Geoffrey Shepherd ( London: Nelson, 1965), p. 107. All references are to this edition.
11.
The Sister Arts, p. 65.
12.
The Shape of Things Known: Sidney's Apology in Its Philosophical Tradition (Cambridge: Harvard University Press, 1972), p. 111.

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