A History of Literary Criticism in the Renaissance: With Special Reference to the Influence of Italy in the Formation and Development of Modern ClassicismColumbia University Press, 1899 - 330 pages |
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Page v
... Boileau , and to English criticism from Ascham to Milton ; but the critical activity of the sixteenth century has been the main theme , and the earlier or later literature has received treatment only in so far as it serves to explain ...
... Boileau , and to English criticism from Ascham to Milton ; but the critical activity of the sixteenth century has been the main theme , and the earlier or later literature has received treatment only in so far as it serves to explain ...
Page 39
... Boileau's famous line : : - " L'esprit n'est point ému de ce qu'il ne croit pas . " 2 But beyond and above the verisimile , the poet must pay special regard to the ethical element ( il lodevole e l'onesto ) . A poet of the sixteenth ...
... Boileau's famous line : : - " L'esprit n'est point ému de ce qu'il ne croit pas . " 2 But beyond and above the verisimile , the poet must pay special regard to the ethical element ( il lodevole e l'onesto ) . A poet of the sixteenth ...
Page 48
... Boileau , and Lamartine . Fracastoro , however , attempts a deeper analysis of the proper function of the poetic art . What is the aim of the poet ? Not merely to give de- light , for the fields , the stars , men and women , 1 Daniello ...
... Boileau , and Lamartine . Fracastoro , however , attempts a deeper analysis of the proper function of the poetic art . What is the aim of the poet ? Not merely to give de- light , for the fields , the stars , men and women , 1 Daniello ...
Page 99
... fable is un- fitted to contain more than one action , but because 1 Castelvetro , Poetica , p . 534. Cf. Boileau , Art Poét . iii . 45 . the restricted space in which the action is repre- sented III . ] 99 THE THEORY OF THE DRAMA.
... fable is un- fitted to contain more than one action , but because 1 Castelvetro , Poetica , p . 534. Cf. Boileau , Art Poét . iii . 45 . the restricted space in which the action is repre- sented III . ] 99 THE THEORY OF THE DRAMA.
Page 108
... Boileau's Art Poétique , and Pope's Essay on Criticism . Vida's poem is entirely based on that of Horace ; but he substitutes epic for Horace's dramatic studies , and employs the Eneid as the model of an epic poem . The incompleteness ...
... Boileau's Art Poétique , and Pope's Essay on Criticism . Vida's poem is entirely based on that of Horace ; but he substitutes epic for Horace's dramatic studies , and employs the Eneid as the model of an epic poem . The incompleteness ...
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according action æsthetic ancient Ariosto Aris Aristotelian Aristotelian canons Aristotle Aristotle's Poetics Art Poét Art Poétique Arte Poetica Ascham attempt authority beauty Bellay Bellay's Ben Jonson Boileau Castelvetro character Christian classical metres comedy conception Daniello Defence of Poesy Défense delight doctrine drama element epic poetry expression form of poetry formulated Fracastoro France French criticism French poetry Giraldi Cintio Greek Haslewood Homer Horace human humanists Ibid ideal imitation influence Italian criticism Italian Renaissance Italy Jonson language Latin Laudun laws literary criticism Maggi Malherbe medieval merely Middle Ages Minturno modern moral Muzio nature Orlando Furioso pagan perfect period Petrarch philosophy pity and fear Platonic Pléiade poem poet poet's Poeta poetic art precepts published reason regarded Renaissance criticism rhetorical Robortelli romantic romanzi Ronsard rules Scaliger Sidney sixteenth century Tasso theory of poetry things three unities tion tragedy tragic treatise Trissino unity Varchi Vauquelin verse Vida Virgil virtue writers
Popular passages
Page 80 - OF THAT SORT OF DRAMATIC POEM WHICH IS CALLED TRAGEDY. TRAGEDT, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems : therefore said by Aristotle to be of power, by raising pity and fear, or terror, to purge the mind of those and such like passions ; that is, to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated.
Page 289 - But deeds, and language, such as men do use, And persons, such as comedy would choose, When she would show an image of the times, And sport with human follies, not with crimes.
Page 80 - ... to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated. Nor is nature wanting in her own effects to make good his assertion; for so in physic, things of melancholic hue and quality are used against melancholy, sour against sour, salt to remove salt humours.
Page 88 - It may, by metaphor, apply itself Unto the general disposition ; As when some one peculiar quality Doth so possess a man, that it doth draw All his affects, his spirits, and his powers, In their confluctions, all to run one way, This may be truly said to be a humour.
Page 28 - It is, moreover, evident from what has been said, that it is not the function of the poet to relate what has happened, but -what may happen, — what is possible according to the law of probability or necessity.
Page 89 - Unity of plot does not, as some persons think, consist in the unity of the hero. For infinitely various are the incidents in one man's life which cannot be reduced to unity; and so, too, there are many actions of one man out of which we cannot make one action.
Page 290 - For where the stage should always represent but one place, and the uttermost time presupposed in it should be, both by Aristotle's precept and common reason, but one day; there is both many days and many places inartificially imagined.
Page 28 - Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular. By the universal I mean how a person of a certain type will on occasion speak or act, according to the law of probability or necessity; and it is this universality at which poetry aims in the names she attaches to the personages.
Page 60 - 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.
Page 90 - Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun, or but slightly to exceed this limit ; whereas the Epic action has no limits of time.