trigram

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