Dramatic Theory and Criticism: Greeks to GrotowskiHolt, Rinehart and Winston, 1974 - 1003 من الصفحات |
من داخل الكتاب
النتائج 1-3 من 86
الصفحة 134
... comedy achieves its end by ridiculing and criticizing ugly and bad behavior . . . . It is enough to know that comedy is a representation of the bad and the vicious , but not all extremes of vice , only those that are ugly and from which ...
... comedy achieves its end by ridiculing and criticizing ugly and bad behavior . . . . It is enough to know that comedy is a representation of the bad and the vicious , but not all extremes of vice , only those that are ugly and from which ...
الصفحة 152
... comedy he takes laughter that is not immoderate , modest amusement , the fabricated complication , happy reversal ... comedy .... Beginning with comedy , its " instrumental " objective is to represent those actions of private characters ...
... comedy he takes laughter that is not immoderate , modest amusement , the fabricated complication , happy reversal ... comedy .... Beginning with comedy , its " instrumental " objective is to represent those actions of private characters ...
الصفحة 374
... comedy may be qualified in a powerful manner both to instruct and to please , the very constitution of its subject ought always to be ridiculous . " Comedy , " says Rapin , " is an image of common life , and its end is to expose upon ...
... comedy may be qualified in a powerful manner both to instruct and to please , the very constitution of its subject ought always to be ridiculous . " Comedy , " says Rapin , " is an image of common life , and its end is to expose upon ...
المحتوى
The Art of Poetry | 67 |
On the Sublime | 76 |
GIOVANNI BOCCACCIO 103 The Genealogy of the Gentile Gods | 112 |
حقوق النشر | |
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absurd action actors Aeschylus ancient Aristophanes Aristotle artist audience beautiful bourgeois tragedy character Chorus comedy comic contrary Corneille Creon critics delight DIONYSUS drama dramatist effect emotions Epic poetry esthetic Euripides excite expression eyes fear feeling fiction French FRIEND give gods Goethe Greek happy hero honor human Iago idea imagination imitation interest kind language laugh laughter manner means merely mind misfortune modern Molière moral nature never object observed Oedipus Othello pain passion Peripeteia person Philoctetes Pierre Corneille pity Plautus play pleasure plot poem poet poetical poetry produce reason representation represented ridiculous romantic rules Samuel Taylor Coleridge scene sense sentiments Shakespeare Sophocles sorrow soul speak spectator spirit stage story sublime suffering theatre things three unities tion tragedy tragic tragicomedy translated true truth unity verse vice virtue well-made play whole words write