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Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 20 0 Browse Search
Knight's Mechanical Encyclopedia (ed. Knight) 12 0 Browse Search
Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 7 1 Browse Search
The writings of John Greenleaf Whittier, Volume 4. (ed. John Greenleaf Whittier) 6 0 Browse Search
Rebellion Record: a Diary of American Events: Poetry and Incidents., Volume 1. (ed. Frank Moore) 6 0 Browse Search
Rebellion Record: a Diary of American Events: Poetry and Incidents., Volume 4. (ed. Frank Moore) 6 0 Browse Search
Rebellion Record: a Diary of American Events: Poetry and Incidents., Volume 7. (ed. Frank Moore) 4 0 Browse Search
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 4 0 Browse Search
Frederick H. Dyer, Compendium of the War of the Rebellion: Regimental Histories 4 0 Browse Search
Southern Historical Society Papers, Volume 18. (ed. Reverend J. William Jones) 4 0 Browse Search
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Browsing named entities in Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). You can also browse the collection for Swift or search for Swift in all documents.

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Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 16: Webster (search)
do it comes from natural gifts which, as Goethe says, we value more as we get older because they can not be stuck on. Possibly to some people it may seem very simple to utter such a sentence. One can only repeat what Scott says somewhere about Swift's style, perhaps the purest and strongest we have in the language. Swift's style, said Scott, seems so simple that one would think any child might write as he does, and yet if we try we find to our despair that it is impossible. It is not easSwift's style, said Scott, seems so simple that one would think any child might write as he does, and yet if we try we find to our despair that it is impossible. It is not easy to say how much Webster's literary art was due to intentional cultivation and how far it was purely instinctive. Undoubtedly he had a natural gift as certainly as he had an ear for the arrangement and cadence of words; but we know that he cared for style and had strong preferences in the choice of the words he used to express his thought. We have the right to infer, therefore, that he was quite aware of the art which he practised so admirably. The highly conscious art which we see in Ster
Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 22: divines and moralists, 1783-1860 (search)
atecraft and college management; an administrator's style, clean in structure, sharp and low-toned in diction, modelled upon Johnson and Burke, but with an occasional richer rhythm. The bloom of immortality, already deeply faded, now withered away. The apostle Eliot, when he died, undoubtedly went to receive the benedictions of multitudes, who, but for him, had finally perished. Sometimes there are short passages of a sober eloquence not unlike Edwards's own. Of the congregation to whom Dr. Swift had been a faithful pastor Dwight observes: Many of them will probably remember him with gratitude throughout eternity. But such pieces of Attic diction or noble rhythm may be followed in the very next sentence by a banality. As in his descriptions and narratives, so in the general body of his prose, the passages of power or beauty are not sustained. He has merely stumbled upon them. From first to last Dwight has either no aesthetic standards or only the standards of cocksure provinc
Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Index (search)
, 276 Story of a bad boy, 405 Stowe, Harriet Beecher, 199, 211, 214, 351, 352, 382, 401 Stranger in Lowell, the, 52 Strauss, 209 Stuart, Moses, 208, 209, 211 Such is the death the soldier dies, 331 Sumner, Charles, 51, 143, 144, 319 Sun (N. Y.), 186, 187, 357 n. Sunday, 5 Sunrise, 343 Supernaturalism of New England, the, 52 Susan Coolidge. See Woolsey, Sarah Sut Lovengood. See Harris, G. W. Surrender at Appomattox, the, 279, 285 Swamp Fox, the, 306 Swift, 5, 102, 203 Swinburne, 51, 245, 271, 271 n. Sword of Robert Lee, the, 291, 309 Symonds, J. A., 27, 263 n. Symphony, the, 337, 343, 345 System of doctrines contained in divine revelation explained and defended, 199 Tabb, John B., 291, 326-329, 330, 342, 343, 345 Tales for the Marines, 154 Tales of a Wayside inn, 39, 49 Tales of soldiers and Civilians, 387 Talisman, the, 174, 369 Talvi (Mrs. Robinson), 136 Tamerlane and other poems, 57 Tamerlane, 66, 68 Tane