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

By John L. Mahoney | Go to book overview

NOTES
1.
( Cambridge: Cambridge University Press, 1936).
2.
Reynolds ( London: Phaedon; New York: Praeger, 1973), p. 36.
3.
See, for example, " General and Particular in the Discourses of Sir Joshua Reynolds: A Study in Method," Journal of Aesthetics and Art Criticism, 11 ( 1953), 231-47.
4.
Sir Joshua Reynolds, Discourses on Art ( San Marino, Calif.: Huntington Library, 1959), p. xxiii.All references to the Discourses are to this edition.Quotations from the text will be followed by parentheses with the number of particular discourses in roman numerals and the pages from Wark's edition in arabic.
5.
Pp. 79-92.
6.
P. 256.
7.
Johnson on Shakespeare, ed. Arthur Sherbo, The Yale Edition of the Works of Samuel Johnson, vol. 7 ( New Haven & London: Yale University Press, 1968). References to Johnson's Shakespeare criticism are to this edition and to this volume.

References to Johnson's criticism of other poets are to his Lives of the English Poets, ed. George Birkbeck Hill, 3 vols. ( Oxford: Clarendon, 1905).

8.
Samuel Johnson ( New York & London: Harcourt, Brace, Jovanovich, 1975), p. 403.
9.
The Sister Arts, pp. 142-43.
10.
See Hipple, The Beautiful, the Sublime, and the Picturesque, p. 139: "The entire course of study which Reynolds lays out for the student is a course in imitation, first of the object set before him, then of the manner of great workers in the art, then (while imitation of artists is not discontinued) of the abundance of nature itself.This progressive broadening of the object and manner of imitation culminates in the formation of a mind adequate to all times and all occasions."
11.
" Ut Pictura Poesis: Reynolds on Imitation and Imagination," Eighteenth-Century Studies, 1, No. 3 ( March 1968), 227.
12.
Reynolds, Discourses on Art, p. xv.

-96-

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