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 vi
... rules and theories embodied in the neo - classic literature of the seven- teenth and eighteenth centuries . How did the classic spirit arise ? Whence did it come , and how did it develop ? What was the origin of the prin- ciples and ...
... rules and theories embodied in the neo - classic literature of the seven- teenth and eighteenth centuries . How did the classic spirit arise ? Whence did it come , and how did it develop ? What was the origin of the prin- ciples and ...
Page 25
... rules and precepts . It is , in fact , a form of logic , and no man , according to Varchi , can be a poet unless he is a logician ; the better logician he is , 1 Robortelli , p . 1 sq . the better poet he will be . Logic and poetry CHAP ...
... rules and precepts . It is , in fact , a form of logic , and no man , according to Varchi , can be a poet unless he is a logician ; the better logician he is , 1 Robortelli , p . 1 sq . the better poet he will be . Logic and poetry CHAP ...
Page 33
... rules of proper expression . The historian or the philosopher does not aim at all the beauties or elegancies of expression , but only such as are proper to history or philosophy . But to the poet no grace , no embellishment , no ...
... rules of proper expression . The historian or the philosopher does not aim at all the beauties or elegancies of expression , but only such as are proper to history or philosophy . But to the poet no grace , no embellishment , no ...
Page 68
... rule of the drama that nothing should be represented on the stage which could not with propriety be done in one's own house . * Scaliger's treatment of the dramatic forms is par- ticularly interesting because of its great influence on ...
... rule of the drama that nothing should be represented on the stage which could not with propriety be done in one's own house . * Scaliger's treatment of the dramatic forms is par- ticularly interesting because of its great influence on ...
Page 91
... rule of the dramatic literature of France and of the world . a In Robortelli ( 1548 ) we find Aristotle's phrase , 1 Giraldi Cintio , ii . 10 sq . " a single revolution of the sun , " restricted III . ] THE THEORY OF THE DRAMA 91.
... rule of the dramatic literature of France and of the world . a In Robortelli ( 1548 ) we find Aristotle's phrase , 1 Giraldi Cintio , ii . 10 sq . " a single revolution of the sun , " restricted III . ] THE THEORY OF THE DRAMA 91.
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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.