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Addison Aristoteles Ästhetik Aufgabe Ausdruck author Bacon Ballade beauties beautiful besonders Betreffs Boileau Briefe Bühne Charaktere Criticism Darstellung description Dichter Dichtung disagreeable Discov Dryden eigenen einmal einzelnen englische Epist Epos erklärt ersten Essay Fabel Falle Ferner finden first folgenden Forderung führt ganze Gattungen Gedanken genius Geschichte gleiche great großen Guard Hamlet Handlung heißt Homer Horaz Human imagination Italy John Jonson kind King Klasse Kritik läßt Lehre Leser letzten lich London make Menschen Metaphern Milton mind Mittel muß müsse Namen natural genius nature neueren Notes Objekte Ovid Personen pleasure Poesie Poet Poetik poetry Pope Regeln rules same Satire Schließlich Schönheit Seite sense Shakespeare soll sowie Spect Spectator Sprache Steele steht Stelle Stücke Szene Tatl thing Tragödie Vergleichung verlangt Verse Virgil Vorrede Vorstellungen weiter Werken Wesen wieder words Works Wort writers writing zitiert zurück zweite
Сторінка 58 - He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew them not laboriously, but luckily : when he describes anything, you more than see it, you feel it too.
Сторінка 46 - When we look on such hideous objects, we are not a little pleased to think we are in no danger of them*. We consider them, at the same time, as dreadful and harmless ; so that, the more frightful appearance they make, the greater is the pleasure we receive from the sense of our own safety.
Сторінка 46 - English theatre, is one of the most monstrous inventions that ever entered into a poet's thoughts. An author might as well think of weaving the adventures of Aeneas and Hudibras into one poem, as of writing such a motley piece of mirth and sorrow. But the absurdity of these performances is so very visible, that I shall not insist upon it. The same objections which are made to tragicomedy, may, in some measure, be applied to all tragedies that have a double...
Сторінка 58 - All the images of nature were still present to him, and he drew them not laboriously but luckily: when he describes anything you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read Nature; he looked inwards, and found her there.
Сторінка 21 - ... who by the mere strength of natural parts, and without any assistance of art or , learning, have produced works that were the delight ! - !p>.
Сторінка 26 - But this is certain, that a noble writer should be born with this faculty in its full strength and vigour, so as to be able to receive lively ideas from outward objects, to retain them long, and to range them together, upon occasion, in such figures and representations, as are most likely to hit the fancy of the reader.
Сторінка 45 - As a perfect tragedy is the noblest production of human nature, so it is capable of giving the mind one of the most delightful and most improving / entertainments. A virtuous man (says Seneca)^ struggling with misfortunes, is such a spectacle as gods might look upon with pleasure ; and such a pleasure it is which one meets with in the representation of a well-written tragedy.
Сторінка 39 - Ne pueros coram populo Medea trucidet, Aut humana palam coquat exta nefarius Atreus, Aut in avem Procne vertatur, Cadmus in anguem. Quodcunque ostendis mihi sic incredulus odi.
Сторінка 31 - And poets may be allowed the like liberty for describing things which really exist not, if they are founded on popular belief. Of this nature are fairies, pigmies, and the extraordinary effects of magic; for it is still an imitation, though of other men's fancies: and thus are Shakespeare's Tempest, his Midsummer Night's Dream, and Ben Jonson's Masque of Witches to be defended.