European Theories of the Drama: An Anthology of Dramatic Theory and Criticism from Aristotle to the Present Day, in a Series of Selected Texts, with Commentaries, Biographies, and Bibliographies
Stewart & Kidd Company, 1918 - 501
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according action actors ancients appeared Aristotle audience beautiful become better bring called cause century character comedy comic complete concerned Corneille criticism drama dramatist edition effect English epic essays example fable fact father feel follow forced French genius give Goethe Greek hand happened human idea imitation important interest Italy kind least less literature living London manner matter means mind Molière moral nature necessary never object observed Paris passions persons pieces play plot poem poet poetic poetry Preface present produced published reason represented rules scene sense Shakespeare sort soul speak stage story theater théâtre theory things thought tion tragedy tragic translated true truth turn unity vols whole write written York
Strona 104 - Comedy is an imitation of the common errors of our life, which he representeth in the most ridiculous and scornful sort that may be, so as it is impossible that any beholder can be content to be such a one.
Strona 9 - Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.
Strona 177 - That more 300 errors of the school have been detected, more useful experiments in philosophy have been made, more noble secrets in optics, medicine, anatomy, astronomy, discovered, than in all those credulous and doting ages from Aristotle to us?
Strona 237 - Yet, notwithstanding this weight of authority and the universal practice of former ages, a new species of dramatic composition has been introduced under the name of sentimental comedy, in which the virtues of private life are exhibited, rather than the vices exposed ; and the distresses rather than the faults of mankind make our interest in the piece.
Strona 105 - Now, of time they are much more liberal. For ordinary it is that two young princes fall in love, after many traverses* she is got with child, delivered of a fair boy, he is lost, groweth a man, falls in love, and is ready to get another child - and all this in two hours...
Strona 186 - The words of a good writer, which describe it lively, will make a deeper impression of belief in us than all the actor can...
Strona 437 - ... freedom. It is altogether a speculative scene of things, which has no* reference whatever to the world that is. No good person can be justly offended as a spectator, because no good person suffers on the stage. Judged morally, every character in these plays — the few exceptions only are mitlaket — is alike essentially vain and worthless. The great art of Congreve...
Strona 106 - ... delighted with laughter. Yet deny I not but that they may go well together. For as in Alexander's picture well set out we delight without laughter, and in twenty mad antics we laugh without delight, so in Hercules, painted with his great beard and furious countenance, in woman's attire, spinning at Omphale's commandment, it breedeth both delight and laughter. For the representing of so strange a power in love procureth delight : and the scornfulness of the action stirreth laughter.
Strona 20 - It may be observed that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and in view of his reward, he shortened the labor to snatch the profit. He therefore remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.