Dr. Samuel Johnsons Stellung zu den literarischen Fragen seiner ZeitGebr. Leemann & Company, 1916 - 111 من الصفحات |
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الصفحة 7
... Miltons Lycidas oder über Gray zitieren . Seine Kritik gilt als abgetan , als eng und reaktionär . In den letzten Jahren aber haben es sich Leute wie Courthope und besonders Raleigh zur Aufgabe ge- macht , ihm von der heutigen ...
... Miltons Lycidas oder über Gray zitieren . Seine Kritik gilt als abgetan , als eng und reaktionär . In den letzten Jahren aber haben es sich Leute wie Courthope und besonders Raleigh zur Aufgabe ge- macht , ihm von der heutigen ...
الصفحة 12
... Milton und Shakespeare nicht entzogen hat . Der Kritiker soll sich aber andererseits bewußt sein , daß es leicht ist , zu bemängeln : There is no end of negative criticism , 85 ) und censure is willingly indulged , because it always ...
... Milton und Shakespeare nicht entzogen hat . Der Kritiker soll sich aber andererseits bewußt sein , daß es leicht ist , zu bemängeln : There is no end of negative criticism , 85 ) und censure is willingly indulged , because it always ...
الصفحة 13
... Miltons großem Glauben an sich selbst und seine poetische Mission erkennt Johnson den sichern Beweis seiner Größe : he had the usual concomitant of great abilities , a lofty and steady confidence in himself ; 48 ) denn self - confidence ...
... Miltons großem Glauben an sich selbst und seine poetische Mission erkennt Johnson den sichern Beweis seiner Größe : he had the usual concomitant of great abilities , a lofty and steady confidence in himself ; 48 ) denn self - confidence ...
الصفحة 15
... Miltons ,, Paradise Lost " findet er wenig Splendid passages containing lessons of morality or precepts of prudence und as it admits no human manners till the Fall , it can give little assistance to human conduct.14 ) No greater ...
... Miltons ,, Paradise Lost " findet er wenig Splendid passages containing lessons of morality or precepts of prudence und as it admits no human manners till the Fall , it can give little assistance to human conduct.14 ) No greater ...
الصفحة 18
... Milton und Bacon , die ihre große dichterische Begabung durch die Vorschriften der Kunst einschränken und bestimmen lassen . Den gleichen Gegensatz zwischen geborenen Schriftstellern ( natural and simple genius , wie Homer ) und solchen ...
... Milton und Bacon , die ihre große dichterische Begabung durch die Vorschriften der Kunst einschränken und bestimmen lassen . Den gleichen Gegensatz zwischen geborenen Schriftstellern ( natural and simple genius , wie Homer ) und solchen ...
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عبارات ومصطلحات مألوفة
Addison Ansicht Aristoteles besonders blank Blankvers Boileau book Boswell Charaktere Chevy Chase CHIG common couplet Cowley criticism delight Dichter soll Dichtung Drama Dryden elegance englische Sprache English Epitaph Epos fiction first FMIC GAN UNIV general Genie genius good graces Gray great große heroic Horace Walpole Horaz human ideas images imagination Klassizismus Klassizisten Kleuker Kritik language läßt Leben Letters levity life little London long Macbeth make meint Johnson Menschen MIC SITY MIC UNIV Miltons mind Moral muß natural nature nennt Paradise Lost passion Pastorale Personen Phantasie pleasing pleasure Poesie poet poetical poetischen poetry Pope power Raleigh Rambler reader Rhymer Romantiker RSITY UNIVE rules sagt Johnson Samuel Johnsons Saudé schließt sense sentiments Shake Shakespeare Shenstone SITY OF UNIVE sound speare Sprache syllables thought Tom Jones Tragödie truth UNIV MIC UNIV MICHIG UNIV UNIV UNIVER SITY Urteil verlangt verse verwirft virtue Voltaire Wahrheit Warton world write
مقاطع مشهورة
الصفحة 52 - O could I flow like thee, and make thy stream My great example, as it is my theme! Though deep, yet clear, though gentle, yet not dull, Strong without rage, without o'er-flowing full.
الصفحة 31 - The business of a poet, said Imlac, is to examine, not the individual, but the species ; to remark general properties and large appearances : he does not number the streaks' of the tulip, or describe the different shades in the verdure of the forest.
الصفحة 99 - Shakespeare is a forest, in which oaks extend their branches, and pines tower in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelter to myrtles and to roses; filling the eye with awful pomp, and gratifying the mind with endless di~ versity.
الصفحة 70 - The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and treasons real, they would please no more. Imitations produce pain or pleasure, not because they are mistaken for realities but because they bring realities to mind.
الصفحة 29 - It ought to be the first Endeavour of a Writer to distinguish Nature from Custom, or that which is established because it is right, from that which is right only because it is established...
الصفحة 69 - ... makes no just distribution of good or evil, nor is always careful to show in the virtuous a disapprobation of the wicked; he carries his persons indifferently through right and wrong, and at the close dismisses them without further care, and leaves their examples to operate by chance.
الصفحة 33 - IN order to make a true estimate of the abilities and merit of a writer, it is always necessary to examine the genius of his age, and the opinions of his contemporaries. A poet who should now make the whole action of his tragedy depend upon enchantment, and produce the chief events by the assistance of supernatural agents, would be censured as transgressing the bounds of probability, he would be banished from the theatre to the nursery, and condemned to write Fairy Tales instead of Tragedies...
الصفحة 15 - The moral to be drawn from this representation is, that no man is more dangerous than he that, with a will to corrupt, hath the power to please ; and that neither wit nor honesty ought to think themselves safe with such a companion, when they see Henry seduced by Falstaff.
الصفحة 54 - Whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison...
الصفحة 70 - 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.