Stendhal et l'angleterre, المجلد 25

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C. Bosse, 1909 - 322 من الصفحات
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الصفحة 255 - The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and treasons real, they would please no more <In/13; Hm/92>. Imitations produce pain or pleasure, not because they are mistaken for realities, but because they bring realities to mind.
الصفحة 253 - Time is, of all modes of existence, most obsequious to the imagination ; a lapse of years is as easily conceived as a passage of hours. In contemplation we easily contract the time of real actions, and therefore willingly permit it to be contracted when we only see their imitation.
الصفحة 253 - ... for the most part between the acts, for of so much of the action as is represented, the real and poetical duration is the same. If in the first act preparations for war against Mithridates are represented to be made in Rome, the event of the war may without absurdity be represented in the catastrophe as happening in...
الصفحة 249 - Such is the triumphant language with which a critic exults over the misery of an irregular poet and exults commonly without resistance or reply. It is time, therefore, to tell him by the authority of...
الصفحة 257 - A play read affects the mind like a play acted. It is therefore evident that the action is not supposed to be real, and it follows that between the acts a longer or shorter time may be allowed to pass and that no more account of space or duration is to be taken by the auditor of a drama than by the reader of a narrative, before whom may pass in an hour the life of a hero or the revolutions of an empire.
الصفحة 248 - ... while armies are levied and towns besieged, while an exile wanders and returns, or till he whom they saw courting his mistress shall lament the untimely fall of his son. The mind revolts from evident falsehood, and fiction loses its force when it departs from the resemblance of reality. From the narrow limitation of time necessarily arises the contraction of place. The spectator who knows that he saw the first act at Alexandria cannot suppose that he sees the next at Rome, at a distance to which...
الصفحة 249 - The objection arising from the impossibility of passing the first hour at Alexandria, and the next at Rome, supposes that when the play opens the spectator really imagines himself at Alexandria, and believes that his walk to the theatre has been a voyage to Egypt, and that he lives in the days of Antony and Cleopatra.
الصفحة 251 - The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players.
الصفحة 256 - ... woods waving -over us. We are agitated in reading the history of Henry the Fifth, yet no man takes his book for the field of Agincourt.
الصفحة 259 - A great deal has been said of the original difference of capacity between men and women; as if women were more quick and men more judicious — as if women were more remarkable for delicacy of association, and men for stronger powers of attention. All this, we confess, appears to us very fanciful. That there is a difference in the understandings of the men and the women we every day meet with...

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