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| Introductory | |
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| The conditions of the experiment; Its aims; Fieldwork in comparative ideology | |
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| The theory of interpretation | |
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| Intellectual and emotional navigation | |
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| Critical principles: The indemonstrability of values | |
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| The ten difficulties of criticism | |
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| Documentation | |
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| Doctrine in poetry. Its expression | |
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| Noble thoughts | |
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| Metrical movements | |
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| Flabby thoughts | |
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| Truth: temporal perception | |
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| Mnemonic irrelevancies: eternity, socialism, the heart | |
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| American idiom: "an inspirational bit," | |
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| Suggestion as falling in love | |
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| Rhyming | |
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| Other tests for poetry | |
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| "Messages," | |
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| Moral qualms | |
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| Renderings | |
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| Correspondences of sound and sense | |
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| Japanese gardening | |
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| Misunderstanding | |
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| Anti-religious reaction | |
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| Stock responses and metre | |
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| Moral objections | |
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| Technical presuppositions and arbitrary renderings | |
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| The sound alone: pictures in poetry | |
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| Mixed metaphor | |
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| Mental prisms | |
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| One man's meat another's poison | |
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| The correspondence of form and content | |
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| Alternating personalities | |
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| "Difference in taste" | |
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| The ascribed rhythm | |
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| Stock responses | |
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| Obscurity | |
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| Incoherence in poetry | |
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| A splendid thought impossible to grasp | |
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| The "atmosphere of approach" | |
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| Timidity | |
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| Immortal beauty | |
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| The stock subject | |
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| Beliefs in poetry | |
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| Tricks of style | |
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| Sonnet form | |
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| Incapacity to construe | |
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| Sincerity and date | |
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| Vacuous resonances | |
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| Mental cleavage | |
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| Alternative readings | |
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| Blank incomprehension | |
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| Excuses | |
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| The "family constellation" | |
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| Analysis | |
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| Two-way prejudices | |
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| Sincerity | |
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| "Pathetic fallacies" | |
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| The Cathedral feeling | |
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| Sententiousness | |
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| Uplift | |
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| Unity and associations | |
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| Nature-poetry | |
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| Sentimentality and nauseation | |
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| Music in poetry | |
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| Metaphor | |
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| Popular songs | |
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| Preconceptions | |
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| Stock rhythms | |
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| Verse form | |
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| Closeness of reading | |
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| "Appalling risk of sentimentality" | |
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| Carelessness v. insincerity | |
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| The acceptance struggle | |
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| Private poetry | |
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| Occasional poetry | |
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| Irrelevancies: royalism | |
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| Republicanism | |
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| The drink problem | |
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| Matter and movement: communicative efficiency | |
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| Colour | |
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| Exhilaration | |
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| Metaphor | |
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| Drama | |
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| A problem of stock responses | |
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| Mnemonic pulls | |
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| Visualisation | |
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| Unpleasant images | |
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| Inhumanity | |
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| Technical presuppositions: ugly and delicate words | |
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| Cacophony | |
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| Onomatopoeia | |
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| Represented motion | |
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| Prosaicisms | |
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| Romanticism | |
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| Nonsense | |
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| Change of tone | |
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| Shallow moralising | |
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| Rapture | |
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| Personal emotion | |
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| Illicit expectations | |
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| Logic | |
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| Obscurity | |
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| Poetic diction | |
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| Strained trash | |
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| Bareness and balanced sanity | |
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| The middle kind of writing | |
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| Rumbling clouds | |
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| Symbolists | |
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| "Crystallisation": falling in love | |
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| Pathetic fallacy | |
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| Chemist's poetry | |
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| Prosody | |
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| Hypnotic movement | |
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| Swoon-reading | |
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| Double action of stock responses | |
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| Death the leveller | |
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| "Was what Christian charity?" | |
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| The mystery of the slaves | |
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| Conjectures | |
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| The monument problem | |
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| Joanna Southcott's Gladstone bag | |
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| Impudent sentimentality | |
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| Prosody | |
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| Sense and sound | |
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| Sanctimonious cliches | |
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| "Rude" in what sense? | |
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| Fatuous solemnity | |
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| Urbanity | |
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| Humour | |
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| Analysis | |
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| The Four Kinds of Meaning | |
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| The ten difficulties of criticism. The fundamental difficulty: making out the meaning | |
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| Four aspects of meaning: sense, feeling, tone, intention | |
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| Relative subordinations of these: in scientific writings | |
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| In popularisation | |
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| In political speeches | |
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| In conversation | |
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| Statements in poetry | |
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| Emotion criticism | |
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| Figurative Language | |
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| Causes of misunderstanding | |
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| The distraction of metre | |
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| Intuitive versus over-literal reading | |
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| Literalism and metaphor | |
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| Poetic liberty | |
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| Mixture in metaphor | |
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| Personification | |
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| Reasons for | |
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| Advantages of | |
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| Dangers of | |
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| Critical comparisons | |
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| The diversity of aims in poetry | |
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| Sense and Feeling | |
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| Interferences between kinds of meaning | |
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| Tone in poetry | |
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| As an index to "sense of proportion" | |
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| Sense and feeling: three types of interrelation | |
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| The pull of the context | |
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| Exerted in two ways: directly between feelings, indirectly through sense | |
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| Pre-analytic apprehension | |
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| Methods of improving apprehension | |
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| Verbal means of analysis for sense and feeling | |
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| The dictionary | |
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| Definition technique for sense | |
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| Our comparative helplessness with feeling | |
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| Projectile adjectives | |
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| Metaphor: sense metaphors and emotive metaphors | |
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| Possibilities of training | |
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| Poetic Form | |
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| Difficulty of apprehending form due partly to bad assumptions | |
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| The regularity myth | |
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| Variation about a norm | |
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| But rhythm goes deeper than the ear | |
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| Inherent rhythm and ascribed rhythm | |
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| Inherent rhythm as a necessary and important skeleton | |
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| Damage done by the regularity myth and by the independence notion | |
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| The danger of neglecting sound | |
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| Reading aloud | |
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| Irrelevant Associations and Stock Responses | |
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| Erratic imagery | |
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| Visualisers | |
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| Irrelevance in general | |
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| Associations with other poems | |
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| The personal situation of the reader | |
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| Stock responses: their omnipresence | |
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| Their utility | |
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| Demarcation of their proper field | |
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| As systems of energy | |
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| As distorting agents | |
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| As ground for complaint against variation | |
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| The stock response as the poem itself | |
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| Resultant popularity | |
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| Good and bad stock responses: their origins | |
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| Withdrawal from experience by deprivation, moral disaster, convention, intellectuality | |
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| Loss in transmission of ideas | |
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| Home-made notions and genius | |
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| And silliness | |
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| The poet and stock ideas | |
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| Sentimentality and Inhibition | |
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| "Sentimental" as an abusive gesture | |
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| As uttering a vague thought | |
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| As uttering a precise thought: over-facility of emotion | |
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| As equivalent to "crude" | |
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| As deriving from "sentiment" | |
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| Sentiments | |
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| Their over-persistence and warping | |
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| Definition of "sentimental" in the third sense | |
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| Sentimentality in readers and in poetry | |
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| Causes of | |
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| Subject and treatment | |
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| The justification of the response | |
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| Conventional metaphors and sentimentality | |
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| Autogenous emotions | |
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| Inhibition as the complement of sentimentality | |
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| Necessity of | |
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| Causes of | |
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| Cure of | |
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| Doctrine in Poetry | |
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| Opposition between readers' and poets' beliefs | |
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| Difficulty the same whether the belief is important or not | |
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| Insufficiency of the "poetic fiction" solution | |
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| Assumptions: intellectual and emotional | |
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| Distinction between them | |
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| "Justification" for each kind | |
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| Logic and choice | |
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| Adjustment of emotional and intellectual claims | |
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| Appearance of insincerity | |
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| Sincerity as absense of self-deception | |
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| As genuineness | |
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| Spontaneity and so-phistication | |
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| Sincerity as self-completion | |
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| Dependent upon a fundamental need | |
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| Sincerity and intuition | |
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| Improvement in sincerity | |
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| Poetry as an exercise in sincerity | |
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| Technical Presuppositions and Critical Preconceptions | |
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| Our expectations from poetry | |
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| Confusions between means and ends | |
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| Encouraged by the language of criticism | |
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| The Summation of details blunder | |
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| No critical theory is directly useful | |
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| Examples: the subject and message tests | |
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| The "lilt" quest | |
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| Critical dogmas as primitive superstitions | |
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| Their duplicity | |
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| The disablement of judgment | |
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| The rule of choice | |
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| Principles only protective | |
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| Critical infallibility | |
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| Summary and Recommendations | |
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| Culture in the Protocols | |
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| Standing of writers | |
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| Immaturity | |
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| Lack of reading | |
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| Inability to construe | |
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| Stock responses | |
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| Preconceptions | |
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| Bewilderment | |
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| Authority | |
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| Variability | |
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| General values | |
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| The Services of Psychology | |
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| Abuse of psychology | |
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| Profanation | |
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| Prudential speech | |
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| Understanding | |
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| Confusions | |
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| Further dissection | |
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| Order | |
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| Suggestions Towards a Remedy | |
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| The teaching of English | |
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| Practical suggestions | |
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| The decline in speech | |
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| Prose | |
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| Critical fog | |
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| Subjectivity | |
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| Humility | |
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| Appendix A | |
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| Further notes on meaning | |
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| Intention | |
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| Aesthetic adjectives | |
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| Rhythm and Prosody | |
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| Visual images | |
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| Appendix B | |
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| The relative popularity of the poems | |
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| Appendix C | |
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| Authorship of the poems | |
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| The reader is recommended not to consult this Appendix until he has read through Part II. | |
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| Appendix D | |
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| The Poems as originally set before the readers | |
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| Index | |