A Course of Lectures on Dramatic Art and LiteratureHogan & Thompson, 1833 - 442 sidor |
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Sida xi
... stage . Principal species of the drama . Essence of tragedy and comedy . Seriousness and mirth . How far it is possi- ble to become acquainted with the ancients without knowing the original lan . guages . Winklemann . 18 LECTURE III ...
... stage . Principal species of the drama . Essence of tragedy and comedy . Seriousness and mirth . How far it is possi- ble to become acquainted with the ancients without knowing the original lan . guages . Winklemann . 18 LECTURE III ...
Sida xii
... stage . Influence of Aristotle and the imitation of the ancients . Investigation of the three unities . What is unity of action ? Unity of time . Was it observed by the Greeks ? Unity of place as connected with it . Mischief resulting ...
... stage . Influence of Aristotle and the imitation of the ancients . Investigation of the three unities . What is unity of action ? Unity of time . Was it observed by the Greeks ? Unity of place as connected with it . Mischief resulting ...
Sida 10
... much less of them has been pre- served . Among the modern nations an endeavour to restore the ancient stage , and , if possible , to perfect it , has been displayed in a very conspicuous manner by the Italians and the French 10 LECTURES ON.
... much less of them has been pre- served . Among the modern nations an endeavour to restore the ancient stage , and , if possible , to perfect it , has been displayed in a very conspicuous manner by the Italians and the French 10 LECTURES ON.
Sida 15
... stage in the fifteenth century had its origin in the allegorical and spiritual pieces called Moralities and Mysteries , this origin was not owing to the influence of the ancient dramatists , who did not come into circulation till some ...
... stage in the fifteenth century had its origin in the allegorical and spiritual pieces called Moralities and Mysteries , this origin was not owing to the influence of the ancient dramatists , who did not come into circulation till some ...
Sida 17
... stage has often , in form and subject , been under more than a due degree of foreign influence . Our object is not , however , the mere passive repetition of the Grecian or French , the Spanish or English theatres ; but we seek , as it ...
... stage has often , in form and subject , been under more than a due degree of foreign influence . Our object is not , however , the mere passive repetition of the Grecian or French , the Spanish or English theatres ; but we seek , as it ...
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acquainted action admiration Agamemnon allowed altogether ancient appears Aristophanes Aristotle beauty Ben Jonson Cæsar Calderon character chorus circumstances Clytemnestra comic writers composition considered Corneille critics degree dignity display dramatic art dramatic poet effect Electra elevation endeavours English entertainment Eschylus Eumenides Euripides everything exhibited expression favour feeling foreign French tragedy give Goethe Grecian Greek tragedy Greeks Hence heroes heroic honour human idea imagination imitation intrigue invention Julius Cæsar labour language Lope de Vega manner masks means Menander merely Metastasio mind modern Molière moral nations nature never noble object observe old comedy Orestes original passion peculiar persons picture pieces Plautus players plays poet poetical poetry possess produce Racine representation resemblance respect Roman scene sentiments Shakspeare Shakspeare's Sophocles Spanish Spanish poetry species spectators spirit stage talent taste theatre theatrical things tion tone tragic true unity verse Voltaire whole
Populära avsnitt
Sida 334 - Tis two or three, my lord, that bring you word, Macduff is fled to England. Macb. Fled to England ? Len. Ay, my good lord. Macb. Time, thou anticipat'st my dread exploits : The flighty purpose never is o'ertook, Unless the deed go with it : from this moment, The very firstlings of my heart shall be The firstlings of my hand.
Sida 323 - Yet nature is made better by no mean But nature makes that mean : so, over that art Which you say adds to nature, is an art That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock, And make conceive a bark of baser kind By bud of nobler race : this is an art Which does mend nature, change it rather, but The art itself is nature.
Sida 301 - element,' but the word is over-worn. \Exit. Vio. This fellow is wise enough to play the fool ; And to do that well craves a kind of wit : He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye.
Sida 196 - Between the acting of a dreadful thing And the first motion, all the interim is Like a phantasma, or a hideous dream : The genius, and the mortal instruments, Are then in council; and the state of man, Like to a little kingdom, suffers then The nature of an insurrection.
Sida 282 - How absolute the knave is ! we must speak by the card, or equivocation will undo us. By the Lord, Horatio, these three years I have taken note of it ; the age is grown so picked that the toe of the peasant comes so near the heel of the courtier, he galls his kibe. How long hast thou been a grave-maker? First Clo. Of all the days i' the year, I came to 't that day that our last king Hamlet overcame Fortinbras.
Sida 298 - ... properties subsist in him peaceably together. The world of spirits and nature have laid all their treasures at his feet: in strength a demi-god, in profundity of view a prophet, in all-seeing wisdom a guardian spirit of a higher order, he lowers himself to mortals as if unconscious of his superiority, and is as open and unassuming as a child.
Sida 325 - By the manner in which he has handled it, it has become a glorious song of praise on that inexpressible feeling which ennobles the soul and gives to it its highest sublimity, and which elevates even the senses themselves into soul...
Sida 323 - Say there be ; Yet nature is made better by no mean But nature makes that mean : so, over that art Which you say adds to nature, is an art That nature makes.
Sida 294 - And yet Johnson has objected to Shakespeare, that his pathos is not always natural and free from affectation. There are, it is true, passages, though, comparatively speaking, very few, where his poetry exceeds the bounds of true dialogue, where a too soaring imagination, a too luxuriant wit, rendered the complete dramatic forgetfulness of himself impossible. With this exception, the censure originates only in a fanciless way of thinking, to which everything appears unnatural that does not suit its...
Sida 300 - Shakespear's comic talent is equally wonderful with that which he has shown in the pathetic and tragic : it stands on an equal elevation, and possesses equal extent and profundity. All that I before wished was, not to admit that the former preponderated. He is highly inventive in comic situations and motives. It will be hardly possible to show whence he has taken any of them ; whereas in the serious part of his drama, he has generally laid hold of something already known. His comic characters are...