This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.
trigram | frequency |
---|---|
one of the | 305 |
it is not | 288 |
that it is | 239 |
it is a | 226 |
as well as | 225 |
it is the | 222 |
there is a | 213 |
it may be | 208 |
and it is | 199 |
is to be | 196 |
there is no | 183 |
in order to | 181 |
but it is | 179 |
of his own | 160 |
the fact that | 159 |
on the other | 156 |
it would be | 152 |
in which the | 135 |
i do not | 134 |
so far as | 124 |
and in the | 124 |
part of the | 120 |
would have been | 119 |
of the most | 117 |
in the same | 116 |
we do not | 115 |
that of the | 115 |
the other hand | 115 |
at the same | 113 |
to be a | 110 |
not to be | 109 |
out of the | 108 |
to have been | 108 |
some of the | 107 |
the same time | 106 |
of the same | 104 |
of the world | 103 |
be found in | 103 |
as it is | 101 |
as far as | 99 |
to be found | 99 |
the end of | 97 |
more or less | 97 |
the history of | 96 |
it must be | 92 |
that he was | 92 |
is not the | 91 |
it has been | 91 |
the language of | 90 |
it is to | 89 |
that there is | 89 |
the author of | 88 |
it will be | 87 |
according to the | 87 |
of the poet | 86 |
in which he | 85 |
to be the | 85 |
that it was | 85 |
to say that | 85 |
in spite of | 85 |
the name of | 82 |
a man of | 82 |
that he is | 82 |
of the great | 82 |
ought to be | 82 |
a kind of | 81 |
the nature of | 81 |
he was a | 80 |
as to the | 80 |
in the first | 80 |
that they are | 80 |
the influence of | 79 |
which it is | 79 |
point of view | 79 |
on the stage | 76 |
than that of | 74 |
is not a | 74 |
a sort of | 74 |
as it were | 74 |
in the world | 73 |
which we have | 73 |
it does not | 73 |
the works of | 73 |
this is the | 72 |
it was a | 72 |
by no means | 71 |
the art of | 71 |
as in the | 70 |
of all the | 70 |
there was a | 70 |
the spirit of | 70 |
the work of | 70 |
of those who | 69 |
the sixteenth century | 68 |
most of the | 68 |
seems to have | 68 |
they do not | 67 |
he does not | 67 |
he did not | 65 |
is one of | 65 |
the case of | 64 |
that he had | 64 |
it was not | 64 |
seems to be | 64 |
he is a | 63 |
and that the | 63 |
it was the | 62 |
are to be | 62 |
it is true | 62 |
of the author | 61 |
of the present | 61 |
it is in | 61 |
because it is | 61 |
the unity of | 61 |
they are not | 61 |
a great deal | 60 |
the theory of | 60 |
the poetry of | 60 |
on the contrary | 60 |
in his own | 59 |
which is the | 59 |
for the most | 59 |
that he has | 58 |
might have been | 58 |
the age of | 57 |
that we have | 57 |
of the human | 57 |
the effect of | 57 |
of the english | 57 |
he is not | 56 |
or at least | 56 |
and of the | 56 |
the life of | 56 |
the power of | 56 |
which he has | 56 |
is in the | 55 |
even in the | 55 |
of their own | 55 |
of the french | 54 |
but in the | 54 |
and it was | 54 |
it seems to | 54 |
men and women | 54 |
and there is | 53 |
the beginning of | 53 |
i am not | 53 |
as they are | 53 |
sense of the | 53 |
the character of | 53 |
many of the | 53 |
the purpose of | 53 |
as we have | 53 |
which i have | 53 |
it is impossible | 52 |
the genius of | 52 |
in the most | 52 |
in the case | 52 |
the result of | 52 |
if he had | 52 |
the existence of | 52 |
is not to | 51 |
end of the | 51 |
of the old | 51 |
a good deal | 51 |
conception of the | 51 |
the sense of | 51 |
of the two | 51 |
of the imagination | 51 |
it is an | 51 |
the idea of | 50 |
be said to | 50 |
to make the | 50 |
more than a | 50 |
of the first | 50 |
account of the | 50 |
that of a | 50 |
we have been | 49 |
that in the | 49 |
of the whole | 49 |
any of the | 49 |
those of the | 49 |
is the most | 49 |
the use of | 49 |
in all the | 48 |
the most part | 48 |
that there are | 48 |
in other words | 48 |
may be said | 48 |
of a man | 48 |
of which the | 48 |
the imitation of | 48 |
found in the | 48 |
of the drama | 48 |
for it is | 47 |
it is no | 47 |
those who have | 47 |
he would have | 47 |
we have no | 47 |
a number of | 47 |
of the mind | 46 |
one of his | 46 |
as a rule | 46 |
as much as | 46 |
this is a | 46 |
the beauty of | 45 |
it is only | 45 |
of the greatest | 45 |
the mind of | 45 |
this is not | 45 |
side of the | 45 |
and this is | 45 |
that we are | 45 |
of the other | 45 |
if it is | 44 |
of the renaissance | 44 |
at the end | 44 |
said to have | 44 |
the laws of | 44 |
because they are | 44 |
of the work | 43 |
to see the | 43 |
not in the | 43 |
but it was | 43 |
is a very | 43 |
the truth of | 43 |
than any other | 43 |
of such a | 42 |
by means of | 42 |
the cause of | 42 |
to his own | 42 |
a series of | 42 |
be able to | 42 |
the time of | 42 |
which they are | 42 |
the question of | 42 |
the number of | 42 |
the part of | 42 |
be regarded as | 41 |
and the other | 41 |
the function of | 41 |
for the purpose | 41 |
of our own | 41 |
may have been | 41 |
fact that the | 41 |
do not know | 41 |
on the whole | 41 |
in the present | 41 |
and to the | 41 |
it is difficult | 41 |
imitation of the | 41 |
not so much | 41 |
of the word | 41 |
the necessity of | 41 |
two or three | 41 |
of the new | 41 |
we are not | 41 |
the subject of | 41 |
in such a | 40 |
i have been | 40 |
of human nature | 40 |
seem to be | 40 |
have been the | 40 |
of the stage | 40 |
of which we | 40 |
the truth is | 40 |
seems to me | 40 |
is not so | 39 |
far as it | 39 |
a man who | 39 |
the law of | 39 |
one of them | 39 |
which has been | 39 |
have been a | 39 |
if it be | 39 |
for a moment | 39 |
a sense of | 39 |
in the second | 39 |
in so far | 39 |
with the same | 38 |
the appearance of | 38 |
all that is | 38 |
there is nothing | 38 |
the form of | 38 |
the point of | 38 |
it should be | 38 |
but there is | 38 |
as that of | 38 |
it was in | 38 |
of the fact | 38 |
of one of | 38 |
he seems to | 38 |
the greater part | 38 |
and the like | 38 |
it as a | 38 |
the first place | 38 |
there can be | 38 |
in one of | 38 |
if it were | 38 |
the middle ages | 37 |
could not be | 37 |
great deal of | 37 |
with all the | 37 |
the story of | 37 |
work of the | 37 |
of the last | 37 |
what is the | 37 |
with which he | 37 |
and on the | 37 |
the best of | 37 |
the whole of | 37 |
as for the | 37 |
he has been | 37 |
of which he | 37 |
which he had | 37 |
more and more | 37 |
a work of | 37 |
he had been | 36 |
some of them | 36 |
writers of the | 36 |
to have a | 36 |
the object of | 36 |
the writings of | 36 |
to think that | 36 |
one of those | 36 |
had not been | 36 |
the poet is | 36 |
of the public | 36 |
would not have | 36 |
on account of | 36 |
to that of | 36 |
and all the | 36 |
it is as | 35 |
nature of the | 35 |
of the highest | 35 |
would be a | 35 |
and at the | 35 |
of the best | 35 |
of the soul | 35 |
the man who | 35 |
in regard to | 35 |
in which it | 35 |
that which is | 35 |
history of the | 35 |
was the first | 35 |
influence of the | 35 |
there is an | 35 |
use of the | 35 |
to those who | 35 |
of the day | 34 |
he could not | 34 |
in which they | 34 |
is difficult to | 34 |
of the church | 34 |
well as the | 34 |
of the story | 34 |
the first of | 34 |
the progress of | 34 |
as a man | 34 |
which may be | 34 |
for the sake | 34 |
with which the | 34 |
there has been | 34 |
that he should | 34 |
when it is | 34 |
there is not | 34 |
theory of poetry | 34 |
which is not | 34 |
of the italian | 34 |
on the subject | 34 |
he is the | 34 |
and the most | 34 |
if he is | 34 |
from that of | 34 |
of a great | 34 |
part of his | 33 |
in the last | 33 |
theory of the | 33 |
the love of | 33 |
is impossible to | 33 |
the study of | 33 |
one or two | 33 |
the sake of | 33 |
he was not | 33 |
the authority of | 33 |
in the very | 33 |
the rest of | 33 |
of the book | 33 |
much of the | 33 |
say that the | 33 |
of the sixteenth | 33 |
the expression of | 33 |
as one of | 33 |
of his life | 33 |
the introduction of | 33 |
the course of | 32 |
not have been | 32 |
to do with | 32 |
the house of | 32 |
of the man | 32 |
no more than | 32 |
of poetry is | 32 |
author of the | 32 |
but they are | 32 |
of the reader | 32 |
it is this | 32 |
to make a | 32 |
of its own | 32 |
out of a | 32 |
of which is | 32 |
as i have | 32 |
in consequence of | 32 |
it to the | 32 |
was to be | 32 |
a matter of | 32 |
he had not | 32 |
of the time | 31 |
to the public | 31 |
and they are | 31 |
that i have | 31 |
i could not | 31 |
so far from | 31 |
to the world | 31 |
they have been | 31 |
the development of | 31 |
to which the | 31 |
the greatest of | 31 |
view of the | 31 |
they were not | 31 |
no less than | 31 |
spirit of the | 31 |
man of genius | 31 |
can be no | 31 |
that there was | 31 |
is said to | 31 |
the way of | 31 |
in the way | 30 |
study of the | 30 |
the world of | 30 |
would not be | 30 |
which we are | 30 |
that is the | 30 |
when he was | 30 |
on the one | 30 |
they are the | 30 |
it is that | 30 |
of the ancients | 30 |
which he is | 30 |
the present day | 30 |
ought not to | 30 |
for the first | 30 |
as he is | 30 |
the days of | 30 |
in this respect | 30 |
beginning of the | 30 |
he was the | 30 |
so as to | 30 |
the edinburgh review | 30 |
as it was | 30 |
it in the | 30 |
an imitation of | 30 |
the rules of | 30 |
than in the | 30 |
of the past | 30 |
the habit of | 30 |
is that of | 29 |
there is something | 29 |
the other side | 29 |
as long as | 29 |
and with the | 29 |
will not be | 29 |
of a poet | 29 |
of his time | 29 |
character of the | 29 |
is that the | 29 |
criticism of the | 29 |
of the modern | 29 |
of the latter | 29 |
as a poet | 29 |
at once the | 29 |
is not only | 29 |
in the history | 29 |
that they were | 29 |
at the time | 29 |
it might be | 29 |
the first to | 29 |
members of the | 29 |
of the age | 29 |
the midst of | 29 |
of the poem | 29 |
to give the | 29 |
the essence of | 29 |
the most important | 29 |
will be found | 29 |
to the same | 29 |
of the play | 28 |
now and then | 28 |
idea of the | 28 |
that can be | 28 |
there was no | 28 |
to which he | 28 |
a part of | 28 |
the manner of | 28 |
must have been | 28 |
seem to have | 28 |
the quality of | 28 |
far as the | 28 |
and from the | 28 |
regard to the | 28 |
if they were | 28 |
upon the stage | 28 |
the side of | 28 |
and by the | 28 |
of human life | 28 |
if they are | 28 |
the eighteenth century | 28 |
but he is | 28 |
the first time | 28 |
the sort of | 28 |
has been the | 28 |
so much as | 28 |
the growth of | 28 |
not of the | 28 |
to believe that | 28 |
be said that | 28 |
and in a | 28 |
if he were | 28 |
do not think | 28 |
and that it | 28 |
has been said | 27 |
instead of the | 27 |
of the audience | 27 |
is not an | 27 |
we have not | 27 |
of the classics | 27 |
at least in | 27 |
he has not | 27 |
as soon as | 27 |
as a result | 27 |
of a poem | 27 |
of a book | 27 |
it is possible | 27 |
of this kind | 27 |
of this period | 27 |
even to the | 27 |
the principle of | 27 |
was not a | 27 |
the basis of | 27 |
the presence of | 27 |
of the epic | 27 |
it is very | 27 |
in favour of | 27 |
of the former | 27 |
and the same | 27 |
rather than the | 27 |
the practice of | 27 |
it would not | 27 |
the death of | 27 |
have been written | 27 |
language of the | 27 |
the writers of | 27 |
to the theatre | 27 |
it is with | 27 |
at all events | 27 |
to do so | 27 |
that is not | 27 |
may not be | 26 |
was in the | 26 |
to see that | 26 |
and in this | 26 |
and not the | 26 |
the place of | 26 |
so that the | 26 |
reference to the | 26 |
connected with the | 26 |
there will be | 26 |
we should have | 26 |
in the midst | 26 |
we are to | 26 |
should not be | 26 |
poetry is the | 26 |
that it would | 26 |
in relation to | 26 |
such as the | 26 |
it is so | 26 |
the meaning of | 26 |
in real life | 26 |
go to the | 26 |
parts of the | 26 |
of the american | 26 |
the italian renaissance | 26 |
that this is | 26 |
on the part | 26 |
a long time | 26 |
the publication of | 26 |
the knowledge of | 26 |
on the same | 26 |
the words of | 26 |
appeal to the | 26 |
good deal of | 25 |
of the subject | 25 |
has already been | 25 |
we have seen | 25 |
should have been | 25 |
the aid of | 25 |
if i may | 25 |
as if he | 25 |
so much of | 25 |
the united states | 25 |
to some extent | 25 |
the hands of | 25 |
they may be | 25 |
the human mind | 25 |
the characters of | 25 |
has not been | 25 |
for a long | 25 |
and with a | 25 |
of the literary | 25 |
by which the | 25 |
the principles of | 25 |
the state of | 25 |
for a while | 25 |
of the critic | 25 |
the desire to | 25 |
and for the | 25 |
and that he | 25 |
him as a | 25 |
unity of time | 25 |
the style of | 25 |
i did not | 25 |
but as a | 25 |
as if they | 25 |
it had been | 25 |
could not have | 25 |
knowledge of the | 25 |
there is in | 25 |
we have a | 25 |
due to the | 25 |
to each other | 25 |
of the country | 25 |
it would have | 25 |
it is quite | 25 |
the secret of | 25 |
that the author | 25 |
which is to | 25 |
of the poetics | 24 |
and so on | 24 |
as a whole | 24 |
greater part of | 24 |
a great poet | 24 |
of the artist | 24 |
at least as | 24 |
it cannot be | 24 |
is a good | 24 |
this may be | 24 |
one of our | 24 |
of the house | 24 |
no one can | 24 |
which have been | 24 |
in the preface | 24 |
of the common | 24 |
the authors of | 24 |
may be called | 24 |
the lives of | 24 |
a state of | 24 |
of the second | 24 |
that we should | 24 |
of the people | 24 |
there is the | 24 |
is true that | 24 |
we have already | 24 |
i have not | 24 |
to the general | 24 |
which does not | 24 |
with regard to | 24 |
from the first | 24 |
with which they | 24 |
seems to us | 24 |
the minds of | 24 |
i should be | 24 |
here and there | 24 |
that poetry is | 24 |
of the middle | 24 |
the eyes of | 24 |
a few of | 24 |
to the great | 23 |
part of a | 23 |
it was to | 23 |
the formation of | 23 |
out of his | 23 |
the head of | 23 |
of the poets | 23 |
if it had | 23 |
the man of | 23 |
and to be | 23 |
of which it | 23 |
it is more | 23 |
is the only | 23 |
of poetry in | 23 |
to me to | 23 |
them in the | 23 |
at one time | 23 |
most of us | 23 |
the importance of | 23 |
is by no | 23 |
in the following | 23 |
with that of | 23 |
the opinion of | 23 |
in the theatre | 23 |
but that the | 23 |
the origin of | 23 |
and that of | 23 |
has been a | 23 |
of his mind | 23 |
of literary criticism | 23 |
not at all | 23 |
to the present | 23 |
him in the | 23 |
what may be | 23 |
mind of the | 23 |
may be the | 23 |
which he was | 23 |
the church of | 23 |
the literature of | 23 |
may be found | 23 |
in the mind | 23 |
not seem to | 23 |
it is of | 23 |
we know that | 23 |
the light of | 23 |
there are many | 23 |
that the poet | 23 |
that i had | 22 |
the merit of | 22 |
of the greek | 22 |
in their own | 22 |
in common with | 22 |
in the house | 22 |
of the general | 22 |
the quarterly review | 22 |
but with the | 22 |
he had a | 22 |
back to the | 22 |
and what is | 22 |
we have the | 22 |
of the art | 22 |
it is clear | 22 |
be considered as | 22 |
we have had | 22 |
of his genius | 22 |
of the arts | 22 |
of his works | 22 |
interest in the | 22 |
those who are | 22 |
they are all | 22 |
of the eighteenth | 22 |
but of the | 22 |
is due to | 22 |
it is said | 22 |
the face of | 22 |
of all that | 22 |
they could not | 22 |
of the ancient | 22 |
that they have | 22 |
work of art | 22 |
been able to | 22 |
in which a | 22 |
and not to | 22 |
result of the | 22 |
a piece of | 22 |
to such a | 22 |
the sight of | 22 |
there is one | 22 |
who do not | 22 |
some of us | 22 |
in the old | 22 |
or to the | 22 |
but for the | 22 |
as he was | 22 |
they seem to | 22 |
of english poetry | 22 |
to the reader | 22 |
effect of the | 22 |
by the same | 22 |
as they were | 22 |
the lyrical ballads | 22 |
the one hand | 22 |
the heart of | 22 |
at the first | 22 |
was not the | 22 |
the middle of | 22 |
is merely a | 22 |
he will be | 22 |
three or four | 22 |
at the beginning | 22 |
it to be | 22 |
the kind of | 21 |
is of a | 21 |
and if the | 21 |
as if it | 21 |
more than one | 21 |
the world is | 21 |
that if the | 21 |
it is evident | 21 |
in the highest | 21 |
which had been | 21 |
at the very | 21 |
of what is | 21 |
appears to have | 21 |
in a few | 21 |
large number of | 21 |
no doubt that | 21 |
of his work | 21 |
the title of | 21 |
the idea that | 21 |
poetry of the | 21 |
none of the | 21 |
of a new | 21 |
pity and fear | 21 |
the close of | 21 |
it is hard | 21 |
the value of | 21 |
which i had | 21 |
but he was | 21 |
function of the | 21 |
place in the | 21 |
do not mean | 21 |
compared with the | 21 |
there may be | 21 |
in the great | 21 |
is not that | 21 |
difference between the | 21 |
i should not | 21 |
spite of his | 21 |
the seventeenth century | 21 |
at all times | 21 |
up to the | 21 |
in which we | 21 |
in the country | 21 |
and as a | 21 |
of his age | 21 |
all this is | 21 |
not only in | 21 |
we are told | 21 |
but this is | 21 |
that does not | 21 |
which all the | 21 |
of the words | 21 |
in the matter | 21 |
of the critics | 21 |
of the kind | 21 |
at the present | 21 |
any more than | 21 |
the short story | 21 |
on the ground | 21 |
in love with | 21 |
to all the | 21 |
a species of | 21 |
will be seen | 21 |
he had no | 21 |
in the whole | 21 |
the criticism of | 21 |
the mass of | 21 |
were to be | 21 |
in this sense | 21 |
de la mare | 20 |
the question whether | 20 |
of life and | 20 |
is to say | 20 |
that he may | 20 |
of a good | 20 |
as the most | 20 |
the matter of | 20 |
of the writer | 20 |
and in his | 20 |
the force of | 20 |
to be no | 20 |
the test of | 20 |
of a very | 20 |
the difference between | 20 |
when he is | 20 |
the defence of | 20 |
that a man | 20 |
that it has | 20 |
the way in | 20 |
only by the | 20 |
as to be | 20 |
a young man | 20 |
is at once | 20 |
one and the | 20 |
given to the | 20 |
have been more | 20 |
and i am | 20 |
is more than | 20 |
so long as | 20 |
the taste of | 20 |
there have been | 20 |
to show that | 20 |
the pleasure of | 20 |
the image of | 20 |
as those of | 20 |
to suggest that | 20 |
the objects of | 20 |
but i am | 20 |
much the same | 20 |
of a single | 20 |
far from being | 20 |
i should have | 20 |
not only to | 20 |
in which i | 20 |
the soul of | 20 |
way in which | 20 |
in a sense | 20 |
one of these | 20 |
i have no | 20 |
to be regarded | 20 |
in the morning | 20 |
that is to | 20 |
down to the | 20 |
that he would | 20 |
used to be | 20 |
when they are | 20 |
should not have | 20 |
it is well | 20 |
far as they | 20 |
the eye of | 20 |
during the sixteenth | 20 |
the son of | 20 |
to the fact | 20 |
is a mere | 20 |
said to be | 20 |
the author has | 20 |
is full of | 20 |
is a little | 20 |
does not seem | 20 |
was one of | 20 |
of the matter | 20 |
of the unity | 20 |
poetry in the | 20 |
more than the | 20 |
even of the | 20 |
the charge of | 20 |
the representation of | 20 |
himself in the | 20 |
not only the | 20 |
to speak of | 20 |
by the way | 20 |
is a great | 20 |
the ancient mariner | 19 |
the merits of | 19 |
of which they | 19 |
some of his | 19 |
to the eye | 19 |
is no longer | 19 |
of the elizabethan | 19 |
in the form | 19 |
with the most | 19 |
quality of the | 19 |
i would not | 19 |
each of them | 19 |
the essay on | 19 |
at least a | 19 |
in the course | 19 |
them to the | 19 |
form of poetry | 19 |
must not be | 19 |
to the author | 19 |
belong to the | 19 |
far as we | 19 |
works of the | 19 |
has ever been | 19 |
the position of | 19 |
is the first | 19 |
number of the | 19 |
is necessary to | 19 |
the standard of | 19 |
an air of | 19 |
and we are | 19 |
but there are | 19 |
of the critical | 19 |
of the edinburgh | 19 |
we should not | 19 |
the dignity of | 19 |
it is rather | 19 |
something of the | 19 |
but he has | 19 |
not for the | 19 |
but if he | 19 |
i wish to | 19 |
of time and | 19 |
to be written | 19 |
which they were | 19 |
is only a | 19 |
the absence of | 19 |
a form of | 19 |
he should have | 19 |
the production of | 19 |
expression of the | 19 |
to which we | 19 |
derived from the | 19 |
ought to have | 19 |
answer to the | 19 |
for there is | 19 |
of real life | 19 |
the interest of | 19 |
as if the | 19 |
in point of | 19 |
of some of | 19 |
account for the | 19 |
from which the | 19 |
by way of | 19 |
every one of | 19 |
of the period | 19 |
if we are | 19 |
if they had | 19 |
not to have | 19 |
such a man | 19 |
the benefit of | 19 |
they had been | 19 |
during the last | 19 |
could have been | 19 |
the actions of | 19 |
the present age | 19 |
half of the | 19 |
in our own | 19 |
they did not | 19 |
deals with the | 19 |
to deal with | 19 |
to use the | 19 |
by the fact | 19 |
likely to be | 19 |
did not know | 19 |
we may be | 19 |
they ought to | 19 |
if i had | 19 |
to the first | 19 |
though it is | 19 |
that we can | 19 |
he may be | 19 |
the forms of | 19 |
of the many | 19 |
which it was | 19 |
away from the | 19 |
rather than a | 19 |
manner in which | 19 |
said that the | 19 |
of the classical | 19 |
i think it | 19 |
supposed to be | 19 |
one who has | 19 |
he has a | 19 |
the choice of | 19 |
in the other | 19 |
the action of | 19 |
to the imagination | 19 |
not one of | 19 |
the nineteenth century | 19 |
may be that | 19 |
of the dramatic | 18 |
of the theatre | 18 |
all of them | 18 |
in the fact | 18 |
where there is | 18 |
and there are | 18 |
of the action | 18 |
must be the | 18 |
and even the | 18 |
and some of | 18 |
this was the | 18 |
have not been | 18 |
itself in the | 18 |
is that it | 18 |
an account of | 18 |
to whom the | 18 |
a good many | 18 |
not only of | 18 |
with all his | 18 |
the members of | 18 |
too much of | 18 |
a few years | 18 |
i will not | 18 |
think that the | 18 |
he tells us | 18 |
the same kind | 18 |
it can be | 18 |
they must be | 18 |
the reign of | 18 |
of the more | 18 |
in a very | 18 |
is hard to | 18 |
for us to | 18 |
to be in | 18 |
any one of | 18 |
of the will | 18 |
man in the | 18 |
the success of | 18 |
are apt to | 18 |
which i am | 18 |
in the language | 18 |
with the exception | 18 |
the majority of | 18 |
defence of poetry | 18 |
so it is | 18 |
of the spirit | 18 |
in the end | 18 |
the performance of | 18 |
defence of poesy | 18 |
and as the | 18 |
it is at | 18 |
them with the | 18 |
one does not | 18 |
in the middle | 18 |
the same thing | 18 |
it is by | 18 |
say that he | 18 |
to the last | 18 |
be seen in | 18 |
of men and | 18 |
that no one | 18 |
the process of | 18 |
at the bottom | 18 |
the method of | 18 |
by those who | 18 |
apart from the | 18 |
in the next | 18 |
less than the | 18 |
of poetry and | 18 |
which is a | 18 |
he would be | 18 |
and does not | 18 |
of that which | 18 |
in the past | 18 |
time and place | 18 |
be in the | 18 |
the task of | 18 |
from the quarterly | 18 |
the possibility of | 18 |
is the same | 18 |
said my friend | 18 |
of the heroic | 18 |
of course the | 18 |
genius of the | 18 |
the first and | 18 |
at the age | 18 |
to think of | 18 |
in the hands | 18 |
nothing of the | 18 |
him to the | 18 |
it will not | 18 |
is so much | 18 |
of our nature | 18 |
may be a | 18 |
that they had | 18 |
it were a | 18 |
time to time | 17 |
the heroic drama | 17 |
to be understood | 17 |
description of the | 17 |
of the seventeenth | 17 |
ideas of the | 17 |
is clear that | 17 |
by his own | 17 |
can hardly be | 17 |
the french revolution | 17 |
part in the | 17 |
they will be | 17 |
there are few | 17 |
to be expected | 17 |
the same way | 17 |
the example of | 17 |
is to the | 17 |
member of the | 17 |
of the century | 17 |
says that the | 17 |
in order that | 17 |
at least the | 17 |
as a critic | 17 |
to that which | 17 |
to take the | 17 |
which the author | 17 |
much in the | 17 |
of the times | 17 |
master of the | 17 |
supposed to have | 17 |
that i am | 17 |
the poet of | 17 |
in keeping with | 17 |
is of the | 17 |
of charles ii | 17 |
and he was | 17 |
the men of | 17 |
few of the | 17 |
belongs to the | 17 |
can never be | 17 |
in the drama | 17 |
to the whole | 17 |
the manners of | 17 |
believe that the | 17 |
is made to | 17 |
preface to the | 17 |
the means of | 17 |
in the play | 17 |
as of the | 17 |
the composition of | 17 |
it is necessary | 17 |
at any rate | 17 |
of the truth | 17 |
defence of the | 17 |
to write a | 17 |
and not of | 17 |
are the most | 17 |
than those of | 17 |
if not the | 17 |
relation to the | 17 |
the english language | 17 |
of english literature | 17 |
but we have | 17 |
and when he | 17 |
it appears that | 17 |
the reader to | 17 |
may be seen | 17 |
in addition to | 17 |
in a more | 17 |
which they have | 17 |
and i have | 17 |
the bottom of | 17 |
that such a | 17 |
who had been | 17 |
of the very | 17 |
in a great | 17 |
do not believe | 17 |
there must be | 17 |
to the poet | 17 |
or in the | 17 |
rather than to | 17 |
of the true | 17 |
some of our | 17 |
have no doubt | 17 |
from the very | 17 |
in the book | 17 |
literary criticism in | 17 |
the aristotelian canons | 17 |
of the poetic | 17 |
of the one | 17 |
men of letters | 17 |
well as in | 17 |
in the sense | 17 |
more of the | 17 |
the same as | 17 |
the order of | 17 |
acquaintance with the | 17 |
which would be | 17 |
distinguished from the | 17 |
yet it is | 17 |
not only a | 17 |
the poet to | 17 |
i have already | 17 |
is perhaps the | 17 |
the passion of | 17 |
for the moment | 17 |
of the original | 17 |
men of genius | 17 |
a little more | 17 |
will be the | 17 |
the period of | 17 |
notion of the | 17 |
the substitution of | 17 |
in the ordinary | 17 |
a volume of | 17 |
is not in | 17 |
of any other | 17 |
or of the | 17 |
only with the | 17 |
they would have | 17 |
consequence of the | 17 |
of a certain | 17 |
there are no | 17 |
there is another | 17 |
the body of | 17 |
he is in | 17 |
to the end | 17 |
the act of | 17 |
and not a | 17 |
in some of | 17 |
this or that | 17 |
the poet must | 17 |
that i was | 17 |
in the former | 17 |
to find a | 16 |
it is easy | 16 |
the historical method | 16 |
a hundred years | 16 |
a poet of | 16 |
at that time | 16 |
of the novel | 16 |
the reason why | 16 |
can only be | 16 |
with which it | 16 |
words of the | 16 |
the voice of | 16 |
of the earth | 16 |
to the mind | 16 |
the exception of | 16 |
in respect of | 16 |
the poems of | 16 |
only in the | 16 |
would be to | 16 |
an act of | 16 |
it is his | 16 |
form of the | 16 |
that it will | 16 |
circumstances of the | 16 |
to see how | 16 |
have been so | 16 |
and above all | 16 |
a result of | 16 |
to the other | 16 |
an age of | 16 |
to him that | 16 |
but it would | 16 |
the exercise of | 16 |
the religion of | 16 |
from time to | 16 |
the duke of | 16 |
as the first | 16 |
to prove that | 16 |
a very large | 16 |
the manner in | 16 |
is a poet | 16 |
by the very | 16 |
in a single | 16 |
they have not | 16 |
is easy to | 16 |
the doctrines of | 16 |
must be admitted | 16 |
and we have | 16 |
venus and adonis | 16 |
and when the | 16 |
to be true | 16 |
in the work | 16 |
the doctrine of | 16 |
lies in the | 16 |
the other is | 16 |
poets of the | 16 |
of the young | 16 |
in this way | 16 |
tragedy and comedy | 16 |
the characters and | 16 |
to be as | 16 |
the praise of | 16 |
which they had | 16 |
the judgment of | 16 |
and if he | 16 |
even in his | 16 |
the results of | 16 |
of it in | 16 |
the fall of | 16 |
because there is | 16 |
to account for | 16 |
he is at | 16 |
question of the | 16 |
translation of the | 16 |
out of sight | 16 |
of a more | 16 |
the air of | 16 |
the family magazine | 16 |
that we do | 16 |
the conduct of | 16 |
from the same | 16 |
is like the | 16 |
many of them | 16 |
the purposes of | 16 |
it did not | 16 |
in any other | 16 |
after the manner | 16 |
the general reader | 16 |
most of all | 16 |
that which we | 16 |
to the most | 16 |
of the three | 16 |
if we were | 16 |
as it has | 16 |
at this time | 16 |
for this reason | 16 |
find in the | 16 |
but on the | 16 |
i am sure | 16 |
state of the | 16 |
greek and latin | 16 |
several of the | 16 |
the effects of | 16 |
in the original | 16 |
church of england | 16 |
of tragedy is | 16 |
of all this | 16 |
as that which | 16 |
to suppose that | 16 |
had never been | 16 |
the other day | 16 |
for many years | 16 |
just as the | 16 |
taste of the | 16 |
nor is it | 16 |
the medium of | 16 |
of which are | 16 |
the things that | 16 |
the direction of | 16 |
a book of | 16 |
the plays of | 16 |
to their own | 16 |
many of his | 16 |
himself to be | 16 |
the worst of | 16 |
there are some | 16 |
to which it | 16 |
can be said | 16 |
school of poetry | 16 |
to be made | 16 |
of english criticism | 16 |
beauty of the | 16 |
the measure of | 16 |
me to be | 16 |
is at least | 16 |
must be a | 16 |
there is little | 16 |
of an author | 16 |
on to the | 16 |
as has been | 16 |
case of the | 16 |
of the ideal | 16 |
the very first | 16 |
that he did | 15 |
so much for | 15 |
the commencement of | 15 |
such as are | 15 |
that they will | 15 |
to be sure | 15 |
to be done | 15 |
i believe that | 15 |
of the characters | 15 |
as a matter | 15 |
that sort of | 15 |
little more than | 15 |
it may have | 15 |
only to the | 15 |
of a young | 15 |
capable of being | 15 |
the attitude of | 15 |
the bounds of | 15 |
of the way | 15 |
as it may | 15 |
to know what | 15 |
who have been | 15 |
is in a | 15 |
as in a | 15 |
the names of | 15 |
the attention of | 15 |
the ground that | 15 |
all the rest | 15 |
in a new | 15 |
appears to us | 15 |
he will not | 15 |
to give a | 15 |
my dear friend | 15 |
in some measure | 15 |
more than that | 15 |
the description of | 15 |
from those of | 15 |
more than any | 15 |
when he had | 15 |
that of his | 15 |
are supposed to | 15 |
the fault of | 15 |
look at the | 15 |
a large number | 15 |
consideration of the | 15 |
this does not | 15 |
there is always | 15 |
any one who | 15 |
the last century | 15 |
definition of tragedy | 15 |
and of course | 15 |
poet of the | 15 |
of the restoration | 15 |
to say of | 15 |
what they are | 15 |
from the edinburgh | 15 |
the limits of | 15 |
consists in the | 15 |
and the poet | 15 |
and it may | 15 |
sight of the | 15 |
of my own | 15 |
of the romanzi | 15 |
with which we | 15 |
the english stage | 15 |
for a time | 15 |
that she had | 15 |
the most interesting | 15 |
has always been | 15 |
story of the | 15 |
a study of | 15 |
of the poetry | 15 |
is no reason | 15 |
who does not | 15 |
it is one | 15 |
name of the | 15 |
as will be | 15 |
to express the | 15 |
character of a | 15 |
of the vulgar | 15 |
is an imitation | 15 |
the critics of | 15 |
it is also | 15 |
cause and effect | 15 |
in the poem | 15 |
that some of | 15 |
order to be | 15 |
poem on the | 15 |
not only with | 15 |
the memory of | 15 |
the man in | 15 |
like that of | 15 |
and still more | 15 |
that all the | 15 |
but if the | 15 |
the reader will | 15 |
aware of the | 15 |
the charm of | 15 |
that has been | 15 |
for all the | 15 |
literature of the | 15 |
no doubt the | 15 |
because he is | 15 |
desire to be | 15 |
the expense of | 15 |
a great many | 15 |
the result is | 15 |
the matter is | 15 |
to which they | 15 |
to me that | 15 |
at first sight | 15 |
none the less | 15 |
for such a | 15 |
the hand of | 15 |
the aim of | 15 |
it appears to | 15 |
in comparison with | 15 |
to those of | 15 |
remarks on the | 15 |
within the last | 15 |
there are not | 15 |
but i have | 15 |
points out that | 15 |
to go to | 15 |
do with the | 15 |
it is still | 15 |
were it not | 15 |
which are the | 15 |
of the poems | 15 |
the horse show | 15 |
that most of | 15 |
be called the | 15 |
which in the | 15 |
it is merely | 15 |
by the poet | 15 |
the ground of | 15 |
which is in | 15 |
we find in | 15 |
spite of the | 15 |
influence on the | 15 |
the latter is | 15 |
sir philip sidney | 15 |
what has been | 15 |
to be so | 15 |
from which he | 15 |
i had been | 15 |
would have made | 14 |
to a more | 14 |
the difficulty of | 14 |
as we are | 14 |
for the present | 14 |
at least one | 14 |
have been in | 14 |
object of the | 14 |
the pages of | 14 |
we believe that | 14 |
other side of | 14 |
no reason why | 14 |
and it would | 14 |
the spectacle of | 14 |
whether it is | 14 |
in search of | 14 |
he was an | 14 |
but what is | 14 |
to find in | 14 |
the will of | 14 |
critics of the | 14 |
to make his | 14 |
the mouth of | 14 |
and yet i | 14 |
to make it | 14 |
in his work | 14 |
will be a | 14 |
value of the | 14 |
they are in | 14 |
good or bad | 14 |
again and again | 14 |
to one of | 14 |
the music of | 14 |
which there is | 14 |
far as he | 14 |
has never been | 14 |
in the writings | 14 |
of the individual | 14 |
the powers of | 14 |
to be able | 14 |
of nature and | 14 |
style of the | 14 |
there is much | 14 |
nature and the | 14 |
to be more | 14 |
in any case | 14 |
from the fact | 14 |
if there is | 14 |
of his poetry | 14 |
of the heart | 14 |
the dramatic critic | 14 |
the excitement of | 14 |
the question is | 14 |
he will find | 14 |
it is doubtful | 14 |
he has no | 14 |
the poet has | 14 |
what it is | 14 |
much of a | 14 |
the last of | 14 |
when he has | 14 |
the qualities of | 14 |
whom he had | 14 |
which cannot be | 14 |
in some cases | 14 |
with such a | 14 |
who is not | 14 |
the most striking | 14 |
even the most | 14 |
dealing with the | 14 |
the cockney school | 14 |
it is because | 14 |
man who has | 14 |
of a novel | 14 |
as a writer | 14 |
would be the | 14 |
much as the | 14 |
in the two | 14 |
way of all | 14 |
the right to | 14 |
it is certain | 14 |
the court of | 14 |
but we are | 14 |
a multitude of | 14 |
is no more | 14 |
they have no | 14 |
speak of the | 14 |
seemed to have | 14 |
the first is | 14 |
for those who | 14 |
a world of | 14 |
and he has | 14 |
of a play | 14 |
he would not | 14 |
because of the | 14 |
rather than of | 14 |
be one of | 14 |
little or no | 14 |
and if we | 14 |
is not merely | 14 |
is the best | 14 |
to the very | 14 |
when he wrote | 14 |
in the habit | 14 |
but they were | 14 |
middle of the | 14 |
under the name | 14 |
that the reader | 14 |
as the author | 14 |
at a time | 14 |
up and down | 14 |
regarded as a | 14 |
to make us | 14 |
to read the | 14 |
nothing more than | 14 |
well as to | 14 |
there seems to | 14 |
and a great | 14 |
in this matter | 14 |
the attempt to | 14 |
any of his | 14 |
with his own | 14 |
written in the | 14 |
be permitted to | 14 |
with each other | 14 |
we feel that | 14 |
based on the | 14 |
in the manner | 14 |
and the result | 14 |
to the highest | 14 |
the author is | 14 |
of the body | 14 |
of the good | 14 |
of his contemporaries | 14 |
of the romantic | 14 |
is likely to | 14 |
that he will | 14 |
only of the | 14 |
most of them | 14 |
it as the | 14 |
but by the | 14 |
the tone of | 14 |
and the great | 14 |
in the early | 14 |
they have the | 14 |
in the latter | 14 |
the impression of | 14 |
of all flesh | 14 |
such is the | 14 |
there would be | 14 |
reaction against the | 14 |
by which it | 14 |
that may be | 14 |
be allowed to | 14 |
as there are | 14 |
to be at | 14 |
of men in | 14 |
to have the | 14 |
is to make | 14 |
only to be | 14 |
aim of the | 14 |
by which they | 14 |
the element of | 14 |
has been so | 14 |
a member of | 14 |
that we shall | 14 |
it was at | 14 |
of poetry as | 14 |
the duty of | 14 |
in the sixteenth | 14 |
that in this | 14 |
to the audience | 14 |
in the eyes | 14 |
less than a | 14 |
the circumstances of | 14 |
have to be | 14 |
in a word | 14 |
for in the | 14 |
this is an | 14 |
but to the | 14 |
keeping with the | 14 |
which are not | 14 |
a picture of | 14 |
the gift of | 14 |
that would be | 14 |
matter of fact | 14 |
not believe that | 14 |
the honour of | 14 |
of the race | 14 |
of view of | 14 |
of thought and | 14 |
the surface of | 14 |
not a few | 14 |
man of letters | 14 |
four or five | 14 |
we have to | 14 |
the perfection of | 14 |
it from the | 14 |
on the poetics | 14 |
people in the | 14 |
it is all | 14 |
by the most | 14 |
but they have | 14 |
of this sort | 14 |
of the thoughts | 14 |
by reason of | 13 |
ignorance of the | 13 |
an attempt to | 13 |
head of the | 13 |
in any way | 13 |
fact that it | 13 |
this kind of | 13 |
proportion to the | 13 |
deal with the | 13 |
us in the | 13 |
of his art | 13 |
published in the | 13 |
of the existence | 13 |
it was only | 13 |
is said that | 13 |
the most popular | 13 |
in the air | 13 |
perhaps the most | 13 |
in the days | 13 |
in the spirit | 13 |
made up of | 13 |
the unities of | 13 |
and a few | 13 |
because he was | 13 |
may not have | 13 |
them from the | 13 |
in the best | 13 |
unity of place | 13 |
the evidence of | 13 |
the top of | 13 |
and the rest | 13 |
for him to | 13 |
on which he | 13 |
they are so | 13 |
he had the | 13 |
of the divine | 13 |
to some of | 13 |
well as of | 13 |
see that the | 13 |
when they were | 13 |
explanation of the | 13 |
to show the | 13 |
the most perfect | 13 |
of the question | 13 |
of the scene | 13 |
on his own | 13 |
rest of the | 13 |
he must have | 13 |
the new school | 13 |
all the more | 13 |
a time when | 13 |
to the french | 13 |
are not to | 13 |
the poetic art | 13 |
it is but | 13 |
with a view | 13 |
conduct of the | 13 |
i have seen | 13 |
itself to the | 13 |
of the unities | 13 |
in the street | 13 |
the stage is | 13 |
to a great | 13 |
not as a | 13 |
to which i | 13 |
at the expense | 13 |
instead of being | 13 |
the tale of | 13 |
but it may | 13 |
is apt to | 13 |
of genius and | 13 |
statement of the | 13 |
a crowd of | 13 |
the fate of | 13 |
the source of | 13 |
for the purposes | 13 |
come to the | 13 |
function of poetry | 13 |
of the historical | 13 |
to be said | 13 |
the causes of | 13 |
he ought to | 13 |
the consciousness of | 13 |
so much the | 13 |
the feeling of | 13 |
on which the | 13 |
the fact of | 13 |
to put the | 13 |
the hero of | 13 |
there are a | 13 |
instead of a | 13 |
must needs be | 13 |
the poet should | 13 |
to explain the | 13 |
of what the | 13 |
that in a | 13 |
to be called | 13 |
the perusal of | 13 |
a man should | 13 |
that in which | 13 |
a defence of | 13 |
and that is | 13 |
acquainted with the | 13 |
in the right | 13 |
it would seem | 13 |
except in the | 13 |
the next century | 13 |
success of the | 13 |
and most of | 13 |
in any of | 13 |
than any of | 13 |
different from the | 13 |
on the side | 13 |
which would have | 13 |
is able to | 13 |
end of his | 13 |
in a less | 13 |
the faults of | 13 |
is capable of | 13 |
in every page | 13 |
and there was | 13 |
in all its | 13 |
can be more | 13 |
that it may | 13 |
he is an | 13 |
among the most | 13 |
and that they | 13 |
that the latter | 13 |
a very good | 13 |
the heroic couplet | 13 |
that the critic | 13 |
the lines of | 13 |
it in a | 13 |
seen in the | 13 |
in imitation of | 13 |
and he is | 13 |
them to be | 13 |
fact that he | 13 |
is the true | 13 |
a short time | 13 |
but does not | 13 |
but it has | 13 |
i have heard | 13 |
which can be | 13 |
far as i | 13 |
but that of | 13 |
too much for | 13 |
meaning of the | 13 |
the battle of | 13 |
the theme of | 13 |
and not in | 13 |
in his life | 13 |
has been seen | 13 |
truth is that | 13 |
be made to | 13 |
no other than | 13 |
to be seen | 13 |
of life in | 13 |
of the nineteenth | 13 |
to the heart | 13 |
than to the | 13 |
is no other | 13 |
it is too | 13 |
now before us | 13 |
close of the | 13 |
up in the | 13 |
different from that | 13 |
that not only | 13 |
in its own | 13 |
to be of | 13 |
of the hero | 13 |
poetry is not | 13 |
of pity and | 13 |
of the little | 13 |
as not to | 13 |
for the great | 13 |
order of the | 13 |
not wish to | 13 |
authority of the | 13 |
to be taken | 13 |
as we can | 13 |
worth while to | 13 |
aspect of the | 13 |
whether it was | 13 |
has been to | 13 |
to represent the | 13 |
love of the | 13 |
may well be | 13 |
all the world | 13 |
in the one | 13 |
the property of | 13 |
that i should | 13 |
is entitled to | 13 |
of the early | 13 |
characteristic of the | 13 |
form of a | 13 |
of his poems | 13 |
is at the | 13 |
that they should | 13 |
to the effect | 13 |
of the few | 13 |
in the public | 13 |
regarded as the | 13 |
the general public | 13 |
the fifteenth century | 13 |
a history of | 13 |
at the moment | 13 |
the arts of | 13 |
to know that | 13 |
poetry is a | 13 |
the system of | 13 |
the human heart | 13 |
think of the | 13 |
he should be | 13 |
to be considered | 13 |
out of it | 13 |
as to what | 13 |
to have had | 13 |
we must not | 13 |
of the italians | 13 |
of which i | 13 |
if all the | 13 |
if i were | 13 |
the fact is | 13 |
of poetry to | 13 |
let us not | 13 |
upon the whole | 13 |
the human race | 13 |
existence of the | 13 |
of them are | 13 |
work of a | 13 |
of what he | 13 |
wish to be | 13 |
present state of | 13 |
in some respects | 13 |
but we do | 13 |
he wrote in | 13 |
and you will | 13 |
of what we | 13 |
he might have | 13 |
i have said | 13 |
and such as | 13 |
they have a | 13 |
to most of | 12 |
they are to | 12 |
the faculty of | 12 |
of the men | 12 |
are not in | 12 |
the service of | 12 |
force of the | 12 |
to have written | 12 |
much for the | 12 |
criticism in the | 12 |
we find him | 12 |
practice of the | 12 |
but in his | 12 |
at once to | 12 |
of imagination and | 12 |
not easy to | 12 |
a question of | 12 |
the sources of | 12 |
we find the | 12 |
can it be | 12 |
is in his | 12 |
the thought of | 12 |
rather than in | 12 |
to hear the | 12 |
not to the | 12 |
had been a | 12 |
from the other | 12 |
was not to | 12 |
on this subject | 12 |
in the year | 12 |
in the story | 12 |
because they were | 12 |
of the aristotelian | 12 |
of the facts | 12 |
nothing to do | 12 |
the readers of | 12 |
out of ten | 12 |
out of place | 12 |
that there were | 12 |
as a kind | 12 |
in a book | 12 |
course of the | 12 |
through the medium | 12 |
to be an | 12 |
the most remarkable | 12 |
the conclusion of | 12 |
which i could | 12 |
in his youth | 12 |
in the italian | 12 |
way to the | 12 |
days of the | 12 |
in a poem | 12 |
it has a | 12 |
the highest and | 12 |
of a kind | 12 |
that they would | 12 |
is a man | 12 |
to point out | 12 |
all the other | 12 |
we need not | 12 |
to assert that | 12 |
if he has | 12 |
into which the | 12 |
a person who | 12 |
i shall not | 12 |
to us to | 12 |
from the beginning | 12 |
is based on | 12 |
of language and | 12 |
in the third | 12 |
was a great | 12 |
the poem is | 12 |
which we cannot | 12 |
that she was | 12 |
in an age | 12 |
consciousness of the | 12 |
more than this | 12 |
the orlando furioso | 12 |
that of prose | 12 |
of the nation | 12 |
order to make | 12 |
a degree of | 12 |
of the third | 12 |
the problem of | 12 |
the way to | 12 |
which the poet | 12 |
with respect to | 12 |
he had to | 12 |
recognition of the | 12 |
be given to | 12 |
according to their | 12 |
the price of | 12 |
the father of | 12 |
here is a | 12 |
is too much | 12 |
escape from the | 12 |
a tendency to | 12 |
there are two | 12 |
the conditions of | 12 |
because they have | 12 |
or any other | 12 |
in the least | 12 |
commencement of the | 12 |
from the time | 12 |
it with the | 12 |
in the art | 12 |
more important than | 12 |
have been made | 12 |
portion of the | 12 |
in the character | 12 |
author of a | 12 |
in my opinion | 12 |
in answer to | 12 |
and yet the | 12 |
and those who | 12 |
the feelings of | 12 |
apt to be | 12 |
growth of the | 12 |
the courage to | 12 |
literary criticism of | 12 |
could not but | 12 |
the credit of | 12 |
in the united | 12 |
rather than by | 12 |
in this country | 12 |
imitation of nature | 12 |
is but a | 12 |
know that the | 12 |
is not easy | 12 |
poetry is an | 12 |
that it had | 12 |
to a degree | 12 |
lives of the | 12 |
sort of thing | 12 |
of his day | 12 |
there were no | 12 |
in a high | 12 |
the world in | 12 |
to the second | 12 |
than of the | 12 |
refer to the | 12 |
in a world | 12 |
picture of the | 12 |
he wrote to | 12 |
each other in | 12 |
is not surprising | 12 |
that he could | 12 |
that which he | 12 |
may be regarded | 12 |
of most of | 12 |
sympathy with the | 12 |
might as well | 12 |
of criticism is | 12 |
that the great | 12 |
in the meantime | 12 |
in which his | 12 |
the fine arts | 12 |
be called a | 12 |
which it would | 12 |
of the sort | 12 |
for the benefit | 12 |
through all the | 12 |
the poet himself | 12 |
the exhibition of | 12 |
with all its | 12 |
a very great | 12 |
vauquelin de la | 12 |
the office of | 12 |
the present state | 12 |
of the philosopher | 12 |
which must be | 12 |
a place in | 12 |
for want of | 12 |
the first night | 12 |
de la fresnaye | 12 |
of the fifteenth | 12 |
book of the | 12 |
even when the | 12 |
that the french | 12 |
who would not | 12 |
the details of | 12 |
no wonder that | 12 |
it is probable | 12 |
as they have | 12 |
first of all | 12 |
are not so | 12 |
place of the | 12 |
even more than | 12 |
to have it | 12 |
of the writers | 12 |
when there is | 12 |
the book is | 12 |
the pursuit of | 12 |
interpretation of the | 12 |
the field of | 12 |
if there were | 12 |
to the time | 12 |
on the first | 12 |
is quite as | 12 |
no one has | 12 |
and of his | 12 |
that the whole | 12 |
in matters of | 12 |
moral and intellectual | 12 |
he was in | 12 |
was published in | 12 |
than by the | 12 |
as i was | 12 |
publication of the | 12 |
to follow the | 12 |
but the most | 12 |
they should be | 12 |
the notion of | 12 |
in the life | 12 |
is the chief | 12 |
which seems to | 12 |
in the main | 12 |
of the next | 12 |
what he is | 12 |
a high degree | 12 |
image of the | 12 |
with the greatest | 12 |
art of the | 12 |
period of the | 12 |
of the family | 12 |
which it had | 12 |
at the head | 12 |
the french language | 12 |
attitude of the | 12 |
of good sense | 12 |
is not more | 12 |
the liberty of | 12 |
drawn from the | 12 |
and from this | 12 |
power of the | 12 |
and i should | 12 |
at least of | 12 |
either in the | 12 |
was not only | 12 |
the person of | 12 |
with those of | 12 |
the excellence of | 12 |
it is most | 12 |
seemed to be | 12 |
to take a | 12 |
and so forth | 12 |
during the renaissance | 12 |
as his own | 12 |
position of the | 12 |
whatever may be | 12 |
the world as | 12 |
the conception of | 12 |
of poetic power | 12 |
the people who | 12 |
are not the | 12 |
with more than | 12 |
the world to | 12 |
better than the | 12 |
the very same | 12 |
if we could | 12 |
part of it | 12 |
and the world | 12 |
the elizabethan age | 12 |
and then it | 12 |
and the whole | 12 |
is no doubt | 12 |
the facts of | 12 |
man of the | 12 |
to be one | 12 |
in most of | 12 |
a man may | 12 |
the business of | 12 |
i think that | 12 |
of these two | 12 |
of new england | 12 |
much of his | 12 |
the preface to | 12 |
the elements of | 12 |
does not mean | 12 |
be a good | 12 |
whom we have | 12 |
of a century | 12 |
the freedom of | 12 |
is no less | 12 |
and the very | 12 |
is as a | 11 |
long as the | 11 |
of the various | 11 |
those of a | 11 |
if there be | 11 |
it might have | 11 |
of the universe | 11 |
the morning post | 11 |
believe that it | 11 |
the great poets | 11 |
come from the | 11 |
a portion of | 11 |
specimens of the | 11 |
the distinction between | 11 |
the productions of | 11 |
and the power | 11 |
the moral and | 11 |
and not only | 11 |
it is written | 11 |
a little while | 11 |
justice to the | 11 |
say nothing of | 11 |
the sum of | 11 |
but there was | 11 |
are in the | 11 |
for the last | 11 |
of our time | 11 |
a master of | 11 |
was that of | 11 |
on the surface | 11 |
the height of | 11 |
can be found | 11 |
is doubtful whether | 11 |
no matter how | 11 |
the parts of | 11 |
should be a | 11 |
to the point | 11 |
reason why the | 11 |
but if it | 11 |
with which i | 11 |
of them were | 11 |
the last few | 11 |
of them as | 11 |
to see a | 11 |
which is at | 11 |
we could not | 11 |
of our language | 11 |
any part of | 11 |
the evolution of | 11 |
i have found | 11 |
to find out | 11 |
the wisdom of | 11 |
large proportion of | 11 |
that we may | 11 |
to be judged | 11 |
not say that | 11 |
is the result | 11 |
it is hardly | 11 |
and a half | 11 |
from the nature | 11 |
in the beginning | 11 |
in the use | 11 |
as in his | 11 |
with the question | 11 |
into the world | 11 |
in a novel | 11 |
the creation of | 11 |
the technique of | 11 |
the extent of | 11 |
jean de la | 11 |
these are the | 11 |
that one of | 11 |
he has written | 11 |
from the point | 11 |
from which they | 11 |
any of them | 11 |
the public taste | 11 |
the time when | 11 |
and i do | 11 |
to the old | 11 |
of our modern | 11 |
the human soul | 11 |
part of our | 11 |
two of the | 11 |
but that is | 11 |
presence of the | 11 |
to a certain | 11 |
instance of this | 11 |
the truth about | 11 |
is the more | 11 |
turn to the | 11 |
shakespeare and milton | 11 |
the rules and | 11 |
the tragedy of | 11 |
those who would | 11 |
even at the | 11 |
by one of | 11 |
the second place | 11 |
to admit that | 11 |
of the intellect | 11 |
of the piece | 11 |
in the presence | 11 |
to make him | 11 |
and that we | 11 |
they are a | 11 |
him in his | 11 |
those who do | 11 |
not the least | 11 |
characters of the | 11 |
and the author | 11 |
the application of | 11 |
to understand the | 11 |
from his own | 11 |
commentary on the | 11 |
of the british | 11 |
is like a | 11 |
it had not | 11 |
if we had | 11 |
or two of | 11 |
no reason to | 11 |
according to this | 11 |
let it be | 11 |
in the direction | 11 |
to make them | 11 |
the discovery of | 11 |
and of a | 11 |
of the theory | 11 |
to the unity | 11 |
in the dark | 11 |
an author who | 11 |
was written in | 11 |
the story is | 11 |
is described as | 11 |
as distinguished from | 11 |
while he was | 11 |
of the actor | 11 |
is in itself | 11 |
up with the | 11 |
editor of the | 11 |
of the beautiful | 11 |
we shall have | 11 |
the castle of | 11 |
they were all | 11 |
to study the | 11 |
in that of | 11 |
he is to | 11 |
it is equally | 11 |
of it as | 11 |
the characters in | 11 |
and may be | 11 |
we ought to | 11 |
as the best | 11 |
of all our | 11 |
with the general | 11 |
more likely to | 11 |
the tradition of | 11 |
speaking of the | 11 |
it ought to | 11 |
the very end | 11 |
of our readers | 11 |
vision of the | 11 |
that the public | 11 |
the proposition that | 11 |
he knows that | 11 |
in this book | 11 |
to a very | 11 |
the treatment of | 11 |
as he has | 11 |
not of a | 11 |
we may call | 11 |
on the theory | 11 |
it is for | 11 |
all the great | 11 |
he seemed to | 11 |
are of the | 11 |
might not be | 11 |
in a state | 11 |
the ideas of | 11 |
part of their | 11 |
this conception of | 11 |
world in which | 11 |
to escape from | 11 |
a far more | 11 |
of the nature | 11 |
we might have | 11 |
we cannot help | 11 |
was forced to | 11 |
of all his | 11 |
is well known | 11 |
life of a | 11 |
the people of | 11 |