Dramatic Theory and Criticism: Greeks to GrotowskiHolt, Rinehart and Winston, 1974 - 1003 من الصفحات |
من داخل الكتاب
النتائج 1-3 من 74
الصفحة 553
... hero's destruction is really not suffering , but is action . In modern times , therefore , situation and character are really predominant . The tragic hero is subjectively reflected in himself , and this reflection has not only ...
... hero's destruction is really not suffering , but is action . In modern times , therefore , situation and character are really predominant . The tragic hero is subjectively reflected in himself , and this reflection has not only ...
الصفحة 813
... hero . In both cases , its position helps to fix the char- acter of the piece ; in Othello , where the counterplay leads at the conclusion of a long introduction ; in Richard III , where the villain alone rules in the first scene . In ...
... hero . In both cases , its position helps to fix the char- acter of the piece ; in Othello , where the counterplay leads at the conclusion of a long introduction ; in Richard III , where the villain alone rules in the first scene . In ...
الصفحة 818
... hero's soul , the more noble its purpose has been , so much more logical will the destruction of the succumbing hero be . And the warning must be given here that the poet should not allow him- self to be misled by modern tender ...
... hero's soul , the more noble its purpose has been , so much more logical will the destruction of the succumbing hero be . And the warning must be given here that the poet should not allow him- self to be misled by modern tender ...
المحتوى
The Art of Poetry | 67 |
On the Sublime | 76 |
GIOVANNI BOCCACCIO 103 The Genealogy of the Gentile Gods | 112 |
حقوق النشر | |
39 من الأقسام الأخرى غير ظاهرة
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
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