quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
on the other hand	115
at the same time	102
to be found in	68
one of the most	58
in the case of	52
for the most part	47
is to be found	45
is one of the	42
it is to be	40
in so far as	38
a great deal of	37
for the purpose of	37
be found in the	36
in the first place	36
the fact that the	35
is not to be	35
at the end of	34
it is difficult to	34
the end of the	33
for the sake of	33
as well as the	33
of the sixteenth century	32
it is impossible to	32
so far as it	29
in the history of	29
the beginning of the	28
the influence of the	28
it is not the	27
the history of the	27
of the fact that	27
as one of the	27
there can be no	26
the author of the	26
on the part of	26
in the midst of	26
that there is a	25
a good deal of	25
the unity of time	25
the nature of the	24
for the first time	24
the greater part of	24
may be said to	23
on the one hand	22
of the eighteenth century	22
be said to have	22
it is true that	22
that it is not	22
than that of the	22
but it is not	22
is by no means	22
that it is a	22
imitation of the classics	21
the imitation of the	21
in spite of his	21
it would have been	20
for a long time	20
that it is the	20
to the fact that	20
the language of the	20
at the beginning of	19
and it is not	19
in the course of	19
it may be that	19
seems to have been	19
it may be said	19
sense of the word	19
the work of the	19
from the quarterly review	18
he seems to have	18
of the unity of	18
of one of the	18
the part of the	18
on the other side	18
during the sixteenth century	18
to say that the	18
the mind of the	18
it seems to me	18
at the age of	18
we do not know	18
in the hands of	18
i do not know	18
in the way of	18
the point of view	18
the function of the	17
on account of the	17
a man of genius	17
the way in which	17
i do not mean	17
as well as in	17
it is clear that	17
one of the greatest	17
the spirit of the	17
in the form of	17
from time to time	16
in the same way	16
the writers of the	16
the church of england	16
of the middle ages	16
does not seem to	16
with the exception of	16
was one of the	16
the manner in which	16
and it is the	16
it is hard to	16
that it would be	16
at the bottom of	16
of the italian renaissance	15
it would not be	15
on the ground that	15
of the human mind	15
in the language of	15
are to be found	15
that is to say	15
the effect of the	15
the character of the	15
after the manner of	15
a work of art	15
in one of the	15
ought not to be	15
the theory of the	15
a large number of	15
from the edinburgh review	15
by the fact that	15
is said to have	15
it must be admitted	15
in order to be	15
the case of the	15
as that of the	15
seems to me to	15
as a matter of	15
the way of all	14
in the writings of	14
point of view of	14
under the name of	14
the poetry of the	14
as a result of	14
but it is the	14
the middle of the	14
as if it were	14
in the fact that	14
in the world of	14
so far as the	14
and this is the	14
the other side of	14
in spite of the	14
that there was a	14
the genius of the	14
to do with the	14
it is easy to	14
way of all flesh	14
it is not a	14
to have been the	13
we have no doubt	13
the theory of poetry	13
as far as they	13
on the side of	13
to be able to	13
the close of the	13
the end of his	13
the rest of the	13
it is said that	13
do not believe that	13
i do not think	13
to account for the	13
a few of the	13
in the habit of	13
of which it is	13
in the sixteenth century	13
it would be a	13
in which it is	13
may be found in	13
the name of the	13
in the mind of	13
was the first to	13
as well as of	13
one and the same	13
there is no reason	13
of the nineteenth century	13
to me to be	13
in the house of	13
the fact that he	13
other side of the	13
in the eyes of	12
so far from being	12
at the expense of	12
it is not easy	12
vauquelin de la fresnaye	12
of the present day	12
as far as we	12
at the head of	12
in order to make	12
as far as the	12
which is to be	12
for the benefit of	12
of time and place	12
from the fact that	12
in the character of	12
the idea of the	12
it is a very	12
the side of the	12
the quality of the	12
in the united states	12
it has been said	12
the unity of place	12
through the medium of	12
of those who have	12
it is in the	12
as we have seen	12
of the seventeenth century	12
is not easy to	12
the present state of	12
the commencement of the	12
to be regarded as	12
there has been a	12
that it was a	12
and at the same	12
it is not an	12
that he did not	12
if we are to	12
as well as to	12
the works of the	12
of the church of	11
the author of a	11
the use of the	11
as if they were	11
and i do not	11
to say that he	11
as a kind of	11
and there is a	11
it seems to us	11
is at once the	11
is not so much	11
of the existence of	11
so far as he	11
in the use of	11
not to be found	11
the aim of the	11
from the point of	11
in the nature of	11
what may be called	11
in the work of	11
it seems to be	11
in the presence of	11
the man in the	11
that most of the	11
in one of his	11
it is doubtful whether	11
and it is this	11
different from that of	11
for the purposes of	11
the fact that it	11
to that of the	11
as will be seen	11
in the direction of	11
of the present age	11
it is not that	11
in regard to the	11
unities of time and	10
the form of a	10
in the mean time	10
in the middle of	10
this is not the	10
far as they are	10
the literary criticism of	10
is an imitation of	10
essay of dramatic poesy	10
the unities of time	10
of the greatest of	10
go to the theatre	10
with which they are	10
that we do not	10
the language of prose	10
they ought to be	10
in a high degree	10
a study of the	10
far as we can	10
with regard to the	10
in the days of	10
the authority of the	10
as a sort of	10
it is necessary to	10
is said to be	10
in consequence of the	10
by the side of	10
on the theory of	10
at a time when	10
so much of the	10
a few years later	10
of men and women	10
in the development of	10
in the second place	10
in keeping with the	10
in the opinion of	10
i am not sure	10
to the influence of	10
of the author of	10
of a man who	10
as well as a	10
as far as it	10
if it had been	10
the circumstances of the	10
in the minds of	10
but it would be	10
nothing to do with	10
the work of a	10
the head of the	10
on the subject of	10
that there is no	10
from that of prose	10
are not to be	10
more than any other	10
the beauty of the	10
that he was a	10
the existence of a	10
of the human heart	10
in which they are	10
of which we have	10
of poetry in the	10
and that of the	10
the defence of poesy	10
under the influence of	10
the publication of the	10
as if he were	10
theory of the drama	10
there is no other	10
and there is no	10
and it may be	10
it would seem that	10
so far as to	10
one of the great	10
of the poet to	10
the existence of the	10
those who do not	10
the question of the	10
in the spirit of	10
the truth is that	10
the critics of the	10
and that it is	10
he would have been	10
in the preface to	10
in a state of	10
theory of poetry in	9
the words of the	9
could not have been	9
may be seen in	9
the fact that his	9
of the last century	9
is the result of	9
the very end of	9
to the study of	9
it is possible to	9
as well as his	9
to say nothing of	9
mill on the floss	9
the aid of the	9
it may be doubted	9
the growth of the	9
to which we have	9
in relation to the	9
from the nature of	9
it appears to us	9
of a man of	9
one of the many	9
to the effect that	9
the order of the	9
but it was not	9
he is not a	9
would not have been	9
as a work of	9
of some of the	9
low and rustic life	9
of which he is	9
this conception of the	9
in the representation of	9
are by no means	9
the success of the	9
that he does not	9
in favour of the	9
the meaning of the	9
but it is a	9
but it may be	9
the best part of	9
the conduct of the	9
of the heroic drama	9
there seems to be	9
a certain number of	9
the mill on the	9
we do not think	9
as we have already	9
it is one of	9
is a kind of	9
may be called the	9
can be said to	9
the truth of the	9
the art of the	9
a matter of fact	9
on the score of	9
may be regarded as	9
seem to have been	9
literary criticism of the	9
of a young man	9
the attitude of the	9
in the works of	9
to the unity of	9
it will be seen	9
every now and then	9
it may well be	9
the unity of the	9
in the life of	9
the result of the	9
it is not only	9
for the greater part	9
it is evident that	9
appears to have been	9
we do not believe	9
a part of the	9
the critical literature of	9
and it is a	9
the age of innocence	9
at the close of	9
the action of the	9
a little while ago	9
but there is a	9
general theory of poetry	9
the period of classicism	9
in the defence of	9
to some of the	9
if he had been	9
have been able to	9
the members of the	9
commentary on the poetics	9
and the nature of	9
will be found in	9
and the influence of	9
is due to the	9
the study of the	9
do not wish to	8
that it does not	8
the son of a	8
is the function of	8
not seem to be	8
nine out of ten	8
i do not say	8
which we have already	8
the taste of the	8
the position of the	8
the general theory of	8
it ought to be	8
with that of the	8
and it would be	8
of the poet is	8
it might have been	8
if he were to	8
would have been a	8
and not in the	8
from the language of	8
no other than the	8
men and women who	8
the function of poetry	8
to the laws of	8
if they had been	8
the venus and adonis	8
the attention of the	8
of the art of	8
that he is a	8
at the time of	8
am not sure that	8
on the authority of	8
the art of poetry	8
that he should have	8
and not of the	8
throughout the period of	8
be regarded as a	8
a very large proportion	8
it is the most	8
influence of the italian	8
a man who has	8
in the face of	8
may not have been	8
in the preface of	8
is not difficult to	8
from the time of	8
to be a good	8
which it is the	8
lives of the poets	8
the authors of the	8
than those of the	8
the name of a	8
in imitation of the	8
in the light of	8
that he was the	8
the lives of the	8
but there is no	8
fact that it is	8
is impossible not to	8
to the end of	8
it had not been	8
it is merely a	8
the eyes of the	8
to a great extent	8
is that of a	8
if he had not	8
the whole of the	8
the sight of the	8
of the new school	8
to teach and delight	8
in the name of	8
as has been seen	8
of all that is	8
of the aristotelian canons	8
too much of a	8
use of the word	8
if he had never	8
it was in the	8
to the point of	8
is a good deal	8
a poet of the	8
it is impossible not	8
because they are not	8
the course of the	8
with a sense of	8
there is a great	8
the last few years	8
the council of trent	8
to be judged by	8
it is to the	8
the midst of the	8
to get rid of	8
may well be that	8
the poet does not	8
a great part of	8
the life of the	8
greater part of the	8
the first of these	8
it is possible that	8
we have not been	8
a considerable number of	8
if it had not	8
over and over again	8
that there may be	8
of pity and fear	8
in spite of all	8
that he has been	8
the secret of the	8
as the author of	8
to escape from the	8
that he was not	8
an account of the	8
so much for the	8
of the lyrical ballads	8
there is a certain	8
it is not difficult	8
without the aid of	8
represented on the stage	8
which is at once	8
there is no need	8
for it is not	8
by means of the	8
in some of the	8
of the historical method	8
the critical activity of	8
the sake of the	8
there is no doubt	8
the nature of a	8
we may be sure	8
is no reason why	8
in the beginning of	7
of the fifteenth century	7
do not think that	7
jean de la taille	7
the doctrine of the	7
the opinion of the	7
what they do not	7
to the genius of	7
in the age of	7
the development of the	7
the literature of the	7
in the infancy of	7
if it is to	7
will be found to	7
of the truth of	7
it will be remembered	7
the face of the	7
in the person of	7
in the art of	7
at the commencement of	7
in which the author	7
the test of poetry	7
in the choice of	7
the minds of the	7
in the lives of	7
there is something in	7
the origin of the	7
in which we are	7
a man of the	7
one of the first	7
is not only a	7
the sort of thing	7
the character of a	7
that he had been	7
to the theory of	7
to those who have	7
on a first night	7
is more or less	7
to be one of	7
that it was the	7
the place of the	7
discourse of english poetrie	7
it is probable that	7
the days of the	7
the rest of his	7
the introduction of the	7
he points out that	7
of the same kind	7
to be in the	7
that it will be	7
out of the question	7
it is as if	7
they do not like	7
had not been for	7
and it must be	7
that they are not	7
during the last few	7
in a less degree	7
at the present day	7
the influence of italian	7
the eye of the	7
but we do not	7
the second book of	7
the presence of the	7
what we may call	7
was by no means	7
the hands of the	7
imitation of human life	7
seems to be the	7
not in the least	7
to prove that the	7
as we have said	7
the end of a	7
so far as i	7
the benefit of the	7
of the human soul	7
of which they are	7
with a view to	7
but at the same	7
the importance of the	7
the american short story	7
the details of the	7
that they do not	7
one of the two	7
the top of the	7
in the conduct of	7
there is a good	7
have no doubt that	7
the very nature of	7
the fact that a	7
of the english church	7
to the eye of	7
it is interesting to	7
of it in the	7
and on the other	7
the nature of things	7
i do not believe	7
the power of the	7
of the united states	7
would be interesting to	7
the men and women	7
it is a curious	7
rather than by the	7
in the pursuit of	7
in the mouth of	7
so far as they	7
in his own person	7
of the french revolution	7
for the reason that	7
the characters of the	7
it is by no	7
though it may be	7
so far as we	7
of the critic to	7
by the substitution of	7
that he is not	7
to see that the	7
as those of the	7
of the beauty of	7
a few years ago	7
it is a good	7
it has often been	7
a world in which	7
in the same manner	7
ought not to have	7
but i do not	7
of the theory of	7
was not to be	7
far as it is	7
the last twenty years	7
it is not to	7
the consideration of the	7
may be said that	7
which there is no	7
would have been the	7
the formation of a	7
the difference between the	7
it would be difficult	7
the soul of man	7
as much as possible	7
be one of the	7
believe that it is	7
it would be interesting	7
if they were not	7
a more or less	7
more important than the	7
very end of the	7
of the influence of	7
the fact that we	7
a great number of	7
as has already been	7
it is not surprising	7
a member of the	7
the ideas of the	7
i should like to	7
in the manner of	7
the form of the	7
of that which is	7
of the age of	7
not only with the	7
if it were a	7
the same kind of	7
to go to the	7
that we have not	7
to the conclusion that	7
to suggest that the	7
one of the few	7
the mode in which	7
it does not seem	7
of the epic poem	7
as a means of	7
it will not be	7
in which all the	7
is not the case	7
of the thoughts and	7
at the feet of	7
in the matter of	7
the judgment of the	7
it was not the	7
it must be remembered	7
he was a man	7
it may have been	7
of which he has	7
as it was in	7
of those who are	6
as it is in	6
rape of the lock	6
the earlier part of	6
with a kind of	6
too much to say	6
the highest form of	6
will be seen that	6
the pages of the	6
on a level with	6
less than that of	6
the whole of his	6
great deal of money	6
only as far as	6
for a short time	6
of most of the	6
that some of the	6
is in keeping with	6
in the long run	6
which they have been	6
the object of his	6
very large proportion of	6
what has been said	6
do not say that	6
with the question of	6
the authority of aristotle	6
i should not have	6
it is impossible for	6
the explanation of the	6
in a short time	6
in the first instance	6
a knowledge of the	6
what might be called	6
in and for itself	6
this is one of	6
the third floor back	6
in addition to the	6
it is a great	6
one of his own	6
is only fair to	6
of the highest kind	6
that this is not	6
critics of the renaissance	6
the castle of st	6
as much as the	6
to the nature of	6
in which he has	6
is likely to be	6
not been able to	6
not a few of	6
there was a time	6
his conception of the	6
the story of rimini	6
one of those who	6
but it does not	6
that which is most	6
the first time in	6
manner in which the	6
the merits of the	6
it is like the	6
in the interest of	6
he is not to	6
in the absence of	6
as i have already	6
of a great poet	6
in the morning post	6
the unity of action	6
there has been no	6
he knows that the	6
with the aid of	6
if we were to	6
that has ever been	6
is a man of	6
not because they are	6
to one of the	6
since the days of	6
the life of a	6
as if he had	6
is that of the	6
have been written by	6
the story of the	6
it is as though	6
in the study of	6
the duty of the	6
at the foot of	6
of the laws of	6
the same way as	6
the same time a	6
to the service of	6
as though it were	6
do not care to	6
he is one of	6
by one of the	6
the value of the	6
at the same moment	6
fall of the curtain	6
can be no doubt	6
there is in the	6
one may say that	6
the beauty of a	6
in spite of their	6
the duration of the	6
of the work of	6
by a series of	6
be no doubt that	6
which it had been	6
we are far from	6
in any of the	6
of the edinburgh review	6
first half of the	6
is to be feared	6
and as a result	6
where there is no	6
on the nature of	6
this point of view	6
for a moment to	6
of one of his	6
from the practice of	6
arte of english poesie	6
the recognition of the	6
do not propose to	6
it is no less	6
the cockney school of	6
that it is possible	6
are apt to be	6
beyond the bounds of	6
on the surface of	6
essentially different from that	6
of men in the	6
the character of his	6
in the position of	6
it is not so	6
the tale of the	6
the whole life of	6
from that of the	6
said to have been	6
the works of a	6
of the power of	6
the essence of poetry	6
to the beauty of	6
an imitation of life	6
in comparison with the	6
in the story of	6
in the second book	6
on the same subject	6
do not mean to	6
may be doubted whether	6
that one of the	6
in the death of	6
would have thought that	6
from the very first	6
his point of view	6
by no means the	6
in accordance with the	6
it is a mere	6
the great writers of	6
he was the first	6
the necessity of the	6
an art of imitation	6
do not mean that	6
of the human race	6
history of literary criticism	6
the idea of a	6
as the result of	6
all that can be	6
the criticism of the	6
to the rules of	6
to which it is	6
the doctrines of the	6
it is only fair	6
the conclusion of the	6
the interest of the	6
of a single hero	6
the other is the	6
so long as the	6
with the power of	6
the office of the	6
in the one case	6
of the genius of	6
and it is to	6
is no need to	6
the law of association	6
to think of the	6
by a man of	6
was a man of	6
to deal with the	6
the story of his	6
in the same year	6
that they should be	6
on the one side	6
the manners of the	6
is much the same	6
but he has not	6
is the sort of	6
as an imitation of	6
yet it may be	6
beyond the reach of	6
it is not because	6
in the centre of	6
stage of english criticism	6
the language of poetry	6
it would be easy	6
i do not doubt	6
the best of the	6
for there is no	6
that the unity of	6
new school of poetry	6
be this as it	6
if he is a	6
of the most important	6
but it is in	6
as if i had	6
he could not have	6
he is a poet	6
they are to be	6
this as it may	6
a defence of the	6
is one of those	6
the fact remains that	6
of the drama is	6
in the mill on	6
the love of the	6
but they are not	6
may be considered as	6
the direction of the	6
much to say that	6
of any of the	6
man in the street	6
to the truth of	6
there is to be	6
it was not until	6
language of real life	6
it is no longer	6
we should not have	6
which we have been	6
that in the last	6
we do not remember	6
of the history of	6
in the place of	6
he had not been	6
to be the first	6
by the name of	6
the mind of man	6
the reign of charles	6
his commentary on the	6
on the first night	6
but this does not	6
there ought to be	6
that he would have	6
to the present day	6
here and there a	6
it must have been	6
the house of commons	6
in the shape of	6
far as he is	6
the hero of a	6
be no other than	6
to the heart of	6
in most of the	6
as the saying is	6
the formation of the	6
in the domain of	6
one or two of	6
there can be little	6
by the force of	6
sense of the term	6
the first half of	6
the first volume of	6
of a series of	6
the rules of aristotle	6
the image of the	6
an imitation of the	6
the practice of the	6
point of view is	6
the fault of the	6
was the result of	6
for it is the	6
the world of letters	6
most of the great	6
the imitation of nature	6
would be easy to	6
is the essence of	6
is impossible to read	6
in which i have	6
as far as i	6
than any of his	6
be seen in the	6
there is not a	6
most of the critics	6
this could not be	6
is to be noted	6
in the description of	6
in a letter to	6
the editor of the	6
we find in the	6
in his old age	6
and the power of	6
the style of the	6
become a part of	6
of nature and the	6
in an age of	6
might have been a	6
is the kind of	5
for its own sake	5
the first and most	5
in the seventeenth century	5
be given to the	5
do not know that	5
of the kind that	5
man of the world	5
on the cockney school	5
literary criticism in england	5
in part to the	5
at the court of	5
to have written the	5
the poet and the	5
him in the same	5
that it is no	5
quarters of a century	5
in order to render	5
let us not be	5
was not a great	5
throughout the middle ages	5
in the words of	5
it is more than	5
the volumes before us	5
it could not be	5
as it would be	5
that he has not	5
but he did not	5
he was one of	5
is capable of being	5
of the function of	5
to the time of	5
of the italian critics	5
of my literary life	5
to be a man	5
to us to be	5
or it may be	5
the people of england	5
any one of the	5
whole life of a	5
as long as the	5
of the french influence	5
a more than usual	5
be regarded as an	5
of which we are	5
and there can be	5
of the poetic art	5
of the fine arts	5
of his own day	5
it is not enough	5
as we can judge	5
is that it is	5
specific symptoms of poetic	5
about the beginning of	5
the objects of the	5
like that of a	5
act of the will	5
this is a very	5
it would not have	5
being at the same	5
is based on the	5
and some of the	5
it is with the	5
take the trouble to	5
the matter of the	5
revolution of the sun	5
with the idea of	5
reign of charles ii	5
seems to have had	5
during the middle ages	5
it will be found	5
on the art of	5
the first of the	5
the manner of the	5
is not surprising that	5
would be difficult to	5
no one of these	5
by any of the	5
the basis of the	5
and with it the	5
the reader or hearer	5
no such thing as	5
but let us not	5
of the writers of	5
no man was ever	5
of the origin of	5
that he was an	5
that there should be	5
as a rule the	5
to the charge of	5
i will venture to	5
which would have been	5
which is the most	5
it was natural that	5
it is a bad	5
that species of composition	5
the sense of the	5
in the world for	5
i refer to the	5
is to be regarded	5
mr de la mare	5
for poetry is the	5
one of the best	5
that it is more	5
of two or three	5
from the pen of	5
they might have been	5
but it is no	5
in the attempt to	5
it seems as if	5
the names of the	5
the master of the	5
the most important of	5
the good and the	5
it is perhaps the	5
which i have been	5
the language of a	5
been in the habit	5
to tell the truth	5
but on the whole	5
have no hesitation in	5
the dignity of the	5
one or other of	5
and the effect of	5
that it should be	5
in the cause of	5
the religion of the	5
greater part of his	5
and all the other	5
in the performance of	5
they ought to have	5
the vast majority of	5
it is the first	5
the fifteenth and sixteenth	5
of the manner in	5
introduction of the french	5
said to be a	5
a poem on the	5
than that of a	5
must be admitted that	5
with respect to the	5
the rules and precepts	5
critical activity of the	5
that the greater part	5
is not a mere	5
the ground that the	5
a fragment of a	5
but it is only	5
the one and the	5
for the expression of	5
the rape of the	5
by no means a	5
of the reign of	5
members of the audience	5
has been said that	5
in the field of	5
as if it had	5
it is very difficult	5
every one of the	5
to be met with	5
be seen that the	5
as it should be	5
symptoms of poetic power	5
the communication of pleasure	5
there is much to	5
and it is impossible	5
such as it is	5
but he could not	5
in the time of	5
the age of elizabeth	5
literary criticism in france	5
ought to be a	5
to be written by	5
the house of lords	5
is not that of	5
in the english language	5
of time and space	5
i did not know	5
seems to us a	5
the principles of the	5
great part of the	5
as i have said	5
rules and precepts of	5
the greatness of the	5
is the work of	5
the dignity of a	5
that this is a	5
he seems to be	5
the hand of the	5
by reason of the	5
which he has been	5
of the way in	5
to that which is	5
the progress of the	5
tales of my landlord	5
of the poetry of	5
on account of their	5
is easy to see	5
the appearance of the	5
the solution of the	5
with which it is	5
it does not follow	5
is not likely to	5
of the next century	5
towards the close of	5
it is only when	5
of the imitation of	5
that some of them	5
the end of poetry	5
been written by a	5
the existence of which	5
at the very moment	5
we have only to	5
it is not too	5
second half of the	5
in the early days	5
to the efforts of	5
far as i can	5
no one has ever	5
they seem to be	5
that it may be	5
there is a story	5
most of all in	5
with many actions of	5
of the life of	5
be said that the	5
one has only to	5
to the number of	5
it may be asked	5
is the fact that	5
he is a man	5
but even in the	5
in which it was	5
the class to which	5
of the arts of	5
as has been said	5
of greek and latin	5
it was at this	5
it is so much	5
i have endeavoured to	5
of cause and effect	5
in which he lived	5
of the orlando furioso	5
than in any other	5
it is the same	5
it is only the	5
the mind of a	5
but they do not	5
attention of the reader	5
the expression of the	5
not one of them	5
in the sense of	5
is to be hoped	5
mode of dealing with	5
the triumph of the	5
they are not in	5
the poem on the	5
and that it was	5
to distinguish between the	5
according to the rules	5
in the same place	5
to the cause of	5
of the works of	5
or at least a	5
to the exercise of	5
in the old days	5
the fact is that	5
little more than a	5
the age in which	5
on the way to	5
the second part of	5
the best of them	5
the advantage of the	5
which it would be	5
but he does not	5
the immediate object of	5
of his own invention	5
in his defence of	5
in the power of	5
of the things that	5
of the three unities	5
a great deal more	5
is a form of	5
it is not merely	5
that he is the	5
in the last resort	5
to believe that the	5
the time when the	5
of the matter is	5
that there is not	5
all the forms of	5
invented by the poet	5
the beginning of his	5
of which may be	5
much in the same	5
that there is nothing	5
the subject of the	5
the imagination and the	5
criticism of this period	5
side of the footlights	5
theory of the epic	5
the description of the	5
cockney school of poetry	5
the arts and sciences	5
to be at the	5
poets of the present	5
neither more nor less	5
of the most interesting	5
well acquainted with the	5
he would not have	5
with a view of	5
of the man in	5
and the practice of	5
the notion of the	5
no less than the	5
of the necessity of	5
the critical ideas of	5
it has been the	5
the heroes and heroines	5
we know not whether	5
upon the fact that	5
can be little doubt	5
on the stage is	5
and it is no	5
but it is equally	5
in any real sense	5
not only by the	5
of the most popular	5
is not too much	5
that it is impossible	5
as if they had	5
it is a little	5
one or the other	5
to believe that it	5
and then it is	5
if it is not	5
aspect of the matter	5
but this is not	5
for those who have	5
the means by which	5
by an act of	5
the effect of a	5
as they ought to	5
it is obvious that	5
the work before us	5
the second half of	5
it is of a	5
it is to this	5
in france during the	5
many actions of many	5
but if it is	5
in his commentary on	5
out of keeping with	5
of the present generation	5
there are people who	5
in a great measure	5
the passing of the	5
one of the chief	5
toward the close of	5
were it not for	5
writers of the eighteenth	5
all the works of	5
i do not wish	5
the author of this	5
it is that which	5
but because they are	5
of the nature of	5
the readers of the	5
a good many of	5
to which i have	5
are for the most	5
belong to the same	5
in proportion to the	5
to be the most	5
it is permissible to	5
in the company of	5
that it was not	5
an appeal to the	5
passing of the third	5
of the third floor	5
a greater number of	5
i confess that i	5
the preface to the	5
that i had been	5
what is to be	5
the sense in which	5
to show that it	5
it would be too	5
half of the sixteenth	5
the end of all	5
between tragedy and comedy	5
seems to be a	5
criticism during the sixteenth	5
years after his death	5
we ought not to	5
has been seen that	5
the answer to the	5
it would be impossible	5
of a kind of	5
on the stage in	5
to the work of	5
writers of the renaissance	5
in his youth he	5
after the death of	5
the characters of tragedy	5
due to the fact	5
a place in the	5
one and the other	5
we know that there	5
in the very first	5
with the objects of	5
in the pages of	5
the part of a	5
the front of the	5
it is certain that	5
so far at least	5
we are told that	5
are supposed to have	5
earlier part of the	5
fifteenth and sixteenth centuries	5
do not think it	5
the works of nature	5
if there be any	5
given to the world	5
i appeal to the	5
more nor less than	5
not so good as	5
a sense of the	5
in this sense the	5
will be seen later	5
a man of letters	5
the history of our	5
at a loss to	5
a vision of the	5
of plautus and terence	5
is clear that he	5
held up to ridicule	5
or any of the	5
to the name of	5
struggle for material prosperity	5
the imitation of human	5
it should be added	5
that of a man	5
some of the most	5
has a right to	5
may be permitted to	5
and the man who	5
he is said to	5
the production of the	5
it may be answered	5
that this is the	5
as might be expected	5
it has been seen	5
in point of fact	5
the contents of the	5
in answer to the	5
of all human knowledge	5
at the horse show	5
the problem of the	5
be a good poet	5
the law of position	5
in the fifteenth century	5
the necessity of a	5
though it were a	5
life of a single	5
the first is the	5
must have been the	5
at the risk of	5
but it must be	5
aristotle says that the	5
would never have been	5
is interesting to note	5
to have been a	5
the moral and intellectual	5
the death of the	5
to arrive at the	5
the efforts of the	5
he was not a	5
to the imitation of	5
the rights of man	5
poetry is an imitation	5
a young man of	5
the result is that	5
of his own time	5
there is only one	5
may be gathered from	5
the language of real	5
an echo to the	5
of the poetical faculty	5
it is of the	5
what can be more	5
have been willing to	5
in the edinburgh review	5
would be impossible to	5
it is this that	5
it was not that	5
the essay on man	5
not too much to	5
is more significant than	5
he would say that	5
in the productions of	5
with a degree of	5
the poetics of aristotle	5
of many of the	5
have not been able	5
to the standard of	5
and the life of	5
which is in the	5
within the range of	5
into the mouth of	5
does not follow that	5
was at that time	5
seems to us to	5
the history of english	5
it is needless to	5
that they are the	5
which it is difficult	5
must be remembered that	5
large proportion of the	5
it is at once	5
the ladies of the	5
out of place in	5
the history of a	5
there is so much	5
in which they were	5
by the laws of	5
of aristotle and horace	5
of the reading public	5
as a form of	4
as good as the	4
the case of a	4
that there are no	4
and those of the	4
at the sight of	4
in matters of art	4
the same class of	4
the mirror up to	4
the root of the	4
is a very different	4
we do not see	4
he will find the	4
the same relation to	4
at the thought of	4
of the english stage	4
sort of thing that	4
know that there is	4
the scope of the	4
of the most beautiful	4
hand in hand with	4
not that of a	4
nature of the thoughts	4
far from being a	4
parts of the house	4
the end of each	4
to all the world	4
and the writer of	4
may be observed that	4
his definition of tragedy	4
idylls of the king	4
found in the fact	4
in the act of	4
to the use of	4
best part of a	4
the people in the	4
be expected from the	4
to be ashamed of	4
the novel and the	4
the ordinary language of	4
at all for the	4
by the authority of	4
the grounds of my	4
a certain class of	4
as distinguished from the	4
to the general reader	4
so as not to	4
the ring and the	4
what it was to	4
that he has written	4
it is amusing to	4
of the greek poets	4
that in this respect	4
we are disposed to	4
and circumstances of the	4
those who have read	4
the purposes of poetry	4
which used to be	4
the feet of the	4
the action of tragedy	4
of the world are	4
there is always a	4
discourse on the romanzi	4
has been called the	4
and the sense of	4
the laws of the	4
to say that they	4
the history of literature	4
the fate of the	4
in the construction of	4
the observance of the	4
is an art of	4
been a man of	4
in the eighteenth century	4
and the fragrancy of	4
of literary criticism in	4
the worse for being	4
to the mass of	4
it is only in	4
the introduction of classical	4
the blossom and the	4
edition of the poetics	4
there is too much	4
that in spite of	4
but the truth is	4
there will be a	4
it is designed to	4
not so much the	4
that not only the	4
as to be a	4
a master of the	4
of the paradise lost	4
single revolution of the	4
can be found in	4
of the theatre is	4
so long as it	4
not to have been	4
critical literature of italy	4
manner in which it	4
as he is a	4
to one who has	4
though it is not	4
the defenders of the	4
as well as he	4
and over again in	4
it is part of	4
for there is a	4
is an act of	4
and the progress of	4
the pleasure of a	4
the fairy queen proserpina	4
a large proportion of	4
for such a man	4
this is the more	4
at all to the	4
in a book of	4
to be expected from	4
the most popular of	4
even of the most	4
in the neighbourhood of	4
in the strictest sense	4
present state of the	4
be written in prose	4
to regard it as	4
not seem to know	4
of greece and rome	4
it is not always	4
conception of the poet	4
distinguishes tragedy from comedy	4
much to be said	4
was to be expected	4
a hundred years ago	4
three or four of	4
is not that he	4
there is no danger	4
it may be called	4
is not because i	4
the substitution of the	4
but if it be	4
if there were no	4
in the world to	4
of our short story	4
the most part the	4
the exercise of his	4
may say that the	4
the pictures of the	4
and we cannot but	4
a vast number of	4
history of english literature	4
i could not see	4
of which i have	4
a large portion of	4
of the greek and	4
and the necessity of	4
seem to have no	4
work of the greatest	4
in a series of	4
the growth of classicism	4
are not in the	4
to be no other	4
by virtue of the	4
of the dramatis personae	4
is much to be	4
an interest in the	4
the law of the	4
imitation of classical literature	4
is the spirit of	4
be more or less	4
and i should not	4
in many of the	4
be regarded as the	4
all that relates to	4
in the first volume	4
because it is the	4
that has yet been	4
to such a man	4
he is going to	4
there are moments when	4
that there are many	4
of more or less	4
it is easier to	4
it is better to	4
it is in keeping	4
an imitation of human	4
the interests of truth	4
which he had not	4
of the metaphysical poets	4
the poet is to	4
the thanksgiving story is	4
as a proof of	4
it has always been	4
may be compared with	4
he does not wish	4
that there is any	4
the use of words	4
a reaction against the	4
man was ever yet	4
and some of them	4
the nature of poetry	4
that in the case	4
when he wrote the	4
more than a century	4
to such a mind	4
as it is with	4
be a man of	4
are not likely to	4
have been one of	4
the course of his	4
have no difficulty in	4
the accademia della crusca	4
it is the duty	4
it is not in	4
the bottom of the	4
in the present age	4
as the language of	4
one point of view	4
of the battle of	4
order in which they	4
i have never seen	4
the literary and political	4
actions of many men	4
no less than as	4
so much as a	4
what the public wants	4
just because it is	4
in order to draw	4
by the representation of	4
does not belong to	4
if not the only	4
except so far as	4
in the excitement of	4
regard it as a	4
of the critics of	4
be distinguished from the	4
can hardly be denied	4
in a certain sense	4
the exception of the	4
spirit of the years	4
he is in a	4
the function of tragedy	4
by the light of	4
was ever yet a	4
are encoded as plain	4
that a man should	4
let me be permitted	4
the founder of a	4
cannot help thinking that	4
as it is the	4
of men of genius	4
seems to me that	4
in the prologue to	4
the same time the	4
on the stage to	4
supposed to have been	4
because it is too	4
if i were to	4
edinburgh and the quarterly	4
the early nineteenth century	4
matter is one of	4
might have been better	4
of the great poets	4
just as it is	4
as we shall see	4
one of the things	4
the man of genius	4
the wish to be	4
out of sight of	4
not one of the	4
in the number of	4
more likely to be	4
be gathered from the	4
many actions of one	4
at least of the	4
nothing could be more	4
in a sort of	4
the exigencies of the	4
in the composition of	4
there is such a	4
and the works of	4
a fair number of	4
in which a man	4
the romance of the	4
in what points i	4
if he does not	4
interesting to note that	4
but in order to	4
of the roman empire	4
the matter is one	4
the world is a	4
that we are to	4
the result of a	4
it is a pity	4
in the execution of	4
is the most excellent	4
and most of the	4
a history of the	4
the fragrancy of all	4
the italians of the	4
in consequence of a	4
at the height of	4
is the test of	4
the property of the	4
the whole system of	4
in the process of	4
that he has no	4
a new form of	4
we are informed that	4
the difference of the	4
the dramatic critic his	4
as an example of	4
a certain portion of	4
of a work of	4
was an age of	4
for the rest of	4
the measure of the	4
with an air of	4
one might almost say	4
of course there are	4
there will be no	4
the transition from the	4
a good deal more	4
to the will of	4
and this is a	4
the extinction of the	4
which the author has	4
the fault is in	4
the case of mr	4
is the power of	4
to tell a story	4
blossom and the fragrancy	4
be represented on the	4
published at paris in	4
of the individual poet	4
as well as more	4
the style in which	4
is at one with	4
as a test of	4
aim of the poet	4
as we know it	4
far as we have	4
to be understood as	4
work of the poet	4
the people on the	4
would have been more	4
not easy to conceive	4
by the council of	4
and the short story	4
on the death of	4
it must be one	4
that the influence of	4
lies in the fact	4
may venture to say	4
to go back to	4
no reason to be	4
is apt to be	4
may be defined as	4
it came to the	4
have little or no	4
of vices and virtues	4
to the second edition	4
to the credit of	4
the grandeur of the	4
been a good deal	4
is the blossom and	4
middle of the sixteenth	4
of which the first	4
and the intellectual energy	4
by pointing out that	4
to them in the	4
poetry is the blossom	4
is no doubt that	4
to the countess of	4
and the liberty of	4
must it have been	4
because they do not	4
the novel of the	4
to sum up the	4
the memory of the	4
more than a mere	4
the banks of the	4
in this respect is	4
be found in a	4
which is not to	4
any one of them	4
the second is the	4
to the introduction of	4
to us by the	4
the second influx of	4
as that of a	4
it is but a	4
were the first to	4
of this or that	4
i do not propose	4
the merit of the	4
in which we live	4
a number of the	4
have been in a	4
of homer and virgil	4
not sure that the	4
he was a great	4
and it is doubtful	4
of the growth of	4
is the poetry of	4
with the love of	4
because he is not	4
we should have to	4
of the highest and	4
it be objected that	4
we are bound to	4
was the son of	4
english criticism from ascham	4
the idea that the	4
that they will not	4
the classic spirit in	4
the average level of	4
the best parts of	4
a point at which	4
in the first book	4
there must be a	4
of the same nature	4
of the imagination and	4
to listen to the	4
that there can be	4
higher than that of	4
that i have been	4
that the author of	4
the man of letters	4
by means of a	4
in a kind of	4
side by side with	4
the head of a	4
we are persuaded that	4
the first is a	4
and some of his	4
in the application of	4
to speak of a	4
the secret of his	4
with the progress of	4
which are to be	4
to find out what	4
of his own soul	4
so much the better	4
the bounds of the	4
it is equally true	4
the poet must be	4
the first book of	4
he wrote in the	4
of poetry and of	4
on the basis of	4
of language and of	4
of the school of	4
it was written in	4
if i may be	4
is as good as	4
of the way of	4
pleasure may be the	4
on the face of	4
is not the least	4
by the example of	4
as a description of	4
he deals with the	4
there is not the	4
the sound of the	4
nothing more than a	4
for that very reason	4
the vision and the	4
and it will be	4
aristotelian conception of the	4
the sixteenth century the	4
of the second volume	4
to the doctrine of	4
and as it were	4
flux and reflux of	4
that part of the	4
the feelings of the	4
to look at the	4
in a spirit of	4
nothing less than the	4
since this was written	4
iliad and the odyssey	4
in this part of	4
of pleasure may be	4
in the first person	4
it would be idle	4
to be seen in	4
the spirit of a	4
that it had been	4
from the spirit of	4
a poet and a	4
the image of a	4
to the progress of	4
it may be admitted	4
in defence of the	4
the founder of the	4
the beauties of the	4
it may be added	4
me be permitted to	4
the peace of the	4
to the lyrical ballads	4
was due to the	4
can hardly be said	4
and a great deal	4
is difficult to say	4
the very beginning of	4
at least in the	4
once or twice a	4
any more than the	4
yet a great poet	4
to appear in the	4
second book of the	4
i had almost said	4
the effect produced on	4
of which he had	4
if i were a	4
we are to be	4
mirror up to nature	4
and yet it is	4
is to be observed	4
that a man who	4
there are too many	4
one of his letters	4
or at least to	4
words of the same	4
at the cost of	4
might have been the	4
for the genius of	4
must not be taken	4
it may be observed	4
of one of our	4
the question whether the	4
is shown by the	4
it is at the	4
he would be a	4
which they could not	4
the development of english	4
from beginning to end	4
in one and the	4
to be no more	4
character of a poet	4
and the spirit of	4
he will not be	4
of which we cannot	4
the employment of the	4
for the suppression of	4
they seem to have	4
it is not at	4
it is not for	4
on the banks of	4
is supposed to be	4
not think it necessary	4
the appearance of truth	4
should be allowed to	4
of the reader to	4
it is well that	4
one would have thought	4
all the laws of	4
in the critical literature	4
which belong to the	4
of the most brilliant	4
of what he is	4
in the idea of	4
it is on this	4
an ideal of the	4
with which he has	4
the morning of the	4
of shakespeare and milton	4
he appears to have	4
mind of the reader	4
to be feared that	4
it is on the	4
in point of time	4
on this side of	4
is derived from the	4
to the existence of	4
through pity and fear	4
already on the decline	4
the definition of tragedy	4
because it is not	4
point of view was	4
the actions of tragedy	4
a defence of poetry	4
in the short story	4
man of his time	4
of the heroic couplet	4
in the plays of	4
of the edinburgh and	4
that the world had	4
to some extent the	4
more or less of	4
is not enough to	4
without being at the	4
criticism from ascham to	4
the freedom of the	4
to most of the	4
in the way in	4
in the knowledge of	4
as the representative of	4
of that sort of	4
the construction of the	4
but one of the	4
do not deny that	4
there is the same	4
of poetry for the	4
of the supreme being	4
the preface of his	4
to think that the	4
this will never do	4
which we have spoken	4
of the character of	4
if we did not	4
in his power to	4
the children of the	4
the case in the	4
the greatest of the	4
him as a man	4
is to be done	4
fragrancy of all human	4
the latter part of	4
are little more than	4
and a man of	4
a writer of the	4
if it be said	4
in the measure of	4
like that of the	4
the tone of the	4
in the reign of	4
is more likely to	4
of the world of	4
have nothing to do	4
is the more remarkable	4
so it is that	4
we ought to be	4
have more or less	4
is an attempt to	4
from ascham to milton	4
in the solitude of	4
the hamlet of mme	4
of it to the	4
ring and the book	4
in the intervals of	4
the result of such	4
i have no doubt	4
time a profound philosopher	4
in a work of	4
the bulk of the	4
think it necessary to	4
the iliad and the	4
of the old school	4
there is always the	4
the greater number of	4
we come to the	4
the edinburgh and the	4
this seems to me	4
french criticism during the	4
and every now and	4
there is not one	4
as well as those	4
in the growth of	4
do not know what	4
and in such a	4
we have no hesitation	4
the state of the	4
in each of them	4
is the basis of	4
if he is not	4
but this was not	4
during the period of	4
it would be unjust	4
of a crowd of	4
and the ancient mariner	4
the actions of men	4
to the house of	4
we do not pretend	4
if he did not	4
may be the immediate	4
suggest that it is	4
during the next century	4
on the most dignified	4
in the following words	4
be considered as a	4
the reaction against the	4
poetry as an imitation	4
of the horse show	4
the worst of the	4
the general public is	4
the masters of the	4
the laws of that	4
criticism in the sixteenth	4
to the task of	4
is the office of	4
a young man who	4
essential difference between the	4
is confined to the	4
but as soon as	4
the moral nature of	4
importance of being earnest	4
this was not the	4
ought to be the	4
of the english language	4
when we come to	4
in the highest and	4
of the critics who	4
it is curious to	4
of a person who	4
the truth of nature	4
the merit of his	4
in the best of	4
within the bounds of	4
and that they are	4
another point of view	4
a book on the	4
that poetry is not	4
the hand of a	4
is doubtful whether the	4
the poetry of mr	4
that we have been	4
the aristotelian conception of	4
an infinite variety of	4
from those of the	4
no doubt that he	4
of classical metres in	4
there would be no	4
to get out of	4
far as it goes	4
up and down the	4
way in which he	4
this side of the	4
that the language of	4
in the court of	4
the nature of man	4
his work as a	4
ronsard and du bellay	4
the eyes of a	4
the distinction between the	4
it does not matter	4
of the sort of	4
it was an age	4
of the imagination or	4
the following passage from	4
the things that are	4
to him as a	4
do not hesitate to	4
those to whom the	4
objects of the senses	4
author of the quintil	4
is at least as	4
by which it is	4
is divided into two	4
language of the imagination	4
of genius is the	4
of difference between the	4
the object of the	4
presented on the stage	4
that it is in	4
an act of the	4
as it has been	4
which is not so	4
that he had no	4
even though it be	4
the art of writing	4
in common with his	4
that we are not	4
he ought to be	4
for it is a	4
might have been expected	4
of poetry as a	4
without reference to the	4
is not one of	4
to speak of the	4
and yet i have	4
is the expression of	4
function of the poet	4
it must be owned	4
the mouth of the	4
it is the work	4
tragedy from comedy in	4
even to the most	4
in his preface to	4
of the same class	4
in the middle ages	4
ever yet a great	4
men and women are	4
all the members of	4
of the great italian	4
at the present moment	4
as far as is	4
there is not an	4
had the courage to	4
that there is one	4
the subject of poetry	4
at once the most	4
the struggle for material	4
to save it from	4
and there was a	4
the church of rome	4
the importance of being	4
as a man of	4
the former in the	4
the fact that there	4
whatever may be the	4
it is the function	4
that can be said	4
the men of the	4
that we should have	4
it used to be	4
to the praise of	4
the wings of the	4
and the art of	4
introduce classical metres into	4
and the love of	4
there is no evidence	4
the abuse of poetry	4
it is this which	4
the pleasure of the	4
france during the sixteenth	4
the mother of lies	4
as in the case	4
the tyranny of the	4
in the existence of	4
in the french renaissance	4
they do not understand	4
seems to be no	4
to be such a	4
and it is of	4
in the georgian book	4
is not an essential	4
the minds of men	4
have been accustomed to	4
the first dawn of	4
of the man who	4
the edge of the	4
the structure of the	4
but it is more	4
dearth of great actresses	4
is a matter of	4
have been led to	4
i have seen it	4
it may be the	4
less than in the	4
the most dignified plane	4
is the man who	4
the child of the	4
the most interesting of	4
to do more than	4
he might have been	4
or the other of	4
and it was not	4
in jean de la	4
by the spectacle of	4
as a protest against	4
what he sees in	4
in the present state	4
to a degree that	4
of keeping with the	4
of light and shade	4
the edinburgh and quarterly	4
are said to have	4
the property of exciting	4
in the present case	4
is the nature of	4
the same manner as	4
that the history of	4
in sympathy with the	4
them out of the	4
it has been suggested	4
in the venus and	4
the results of his	4
have the air of	4
we should not be	4
under the burden of	4
as soon as they	4
it is a mistake	4
as far as his	4
the skill with which	4
at the top of	4
the life of his	4
of the book is	4
said to be the	4
says that it is	4
the course of time	4
do not pretend to	4
his defence of the	4
in the sense in	4
me to be a	4
says that the unity	4
little to do with	4
of the quality of	4
the rules of the	4
that poetry is the	4
the battle of the	4
the wife of a	4
the air of a	4
it can only be	4
is that he is	4
in favor of the	4
statements of fact in	4
against the charge of	4
the poet is not	4
there was a great	4
seem to think that	4
but there is another	4
to a degree which	4
in the present day	4
quite as much as	4
it belongs to the	4
to the best of	4
of genius in the	4
is based on a	4
no hesitation in saying	4
over half a century	4
is characteristic of the	4
is no reason to	4
of the round table	4
the production of a	4
to be distinguished from	4
until the very end	4
it need not be	4
is the quality of	4
was meant to be	4
statement of the unity	4