Dr. Samuel Johnsons Stellung zu den literarischen Fragen seiner ZeitGebr. Leemann & Company, 1916 - 111 من الصفحات |
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الصفحة 6
... Tragödie Die Komödie Die Tragikomödie Die Oper Das Pastorale Die Allegorie Die geistliche Dichtung Die Ballade 64 64 66 68 Ursprung . Forderung der Lebenswahrheit Belehrung . Poetische Gerechtigkeit . Bau . Sprache 68 69 73 75 76 77 77 ...
... Tragödie Die Komödie Die Tragikomödie Die Oper Das Pastorale Die Allegorie Die geistliche Dichtung Die Ballade 64 64 66 68 Ursprung . Forderung der Lebenswahrheit Belehrung . Poetische Gerechtigkeit . Bau . Sprache 68 69 73 75 76 77 77 ...
الصفحة 42
... Tragödie Anfang , Mittelstück und Ende fordert , verlangt Johnson für alle Gattungen , 76 ) L. I , 217 . 77 ) L. II , 68 . 78 ) L. II , 338 . 79 ) L. I , 360 . 80 ) Vorwort zu „ Bajazet “ . 81 ) L. I , 171 . 82 ) I , 37 . 83 ) Sp . 369 ...
... Tragödie Anfang , Mittelstück und Ende fordert , verlangt Johnson für alle Gattungen , 76 ) L. I , 217 . 77 ) L. II , 68 . 78 ) L. II , 338 . 79 ) L. I , 360 . 80 ) Vorwort zu „ Bajazet “ . 81 ) L. I , 171 . 82 ) I , 37 . 83 ) Sp . 369 ...
الصفحة 60
... Tragödie läßt Johnson den Reim gelten , im Gegensatz zu Addison , 262 ) der für diese Gattung den Blankvers fordert . Auch Shaftesbury 263 ) will den ,, horrid discord of jingling rhyme " aus dem Drama entfernen . Dryden hingegen ...
... Tragödie läßt Johnson den Reim gelten , im Gegensatz zu Addison , 262 ) der für diese Gattung den Blankvers fordert . Auch Shaftesbury 263 ) will den ,, horrid discord of jingling rhyme " aus dem Drama entfernen . Dryden hingegen ...
الصفحة 66
... Tragödie als höchste Kunstform betrachtete.6 ) 1 ) L. I , 170 . 2 ) VII , 39 . 3 ) ,, Art poétique " ( III , 160 ff . ) . ,, Apology for Heroic Poetry and Poetic License " ( XIII , 36 , XIV , 129 ) , Spect . 267 . 5 ) Vgl . Saudé , S ...
... Tragödie als höchste Kunstform betrachtete.6 ) 1 ) L. I , 170 . 2 ) VII , 39 . 3 ) ,, Art poétique " ( III , 160 ff . ) . ,, Apology for Heroic Poetry and Poetic License " ( XIII , 36 , XIV , 129 ) , Spect . 267 . 5 ) Vgl . Saudé , S ...
الصفحة 70
... Tragödie auf die Freude zurück , den Gefühlen der Mensch- 38 ) L. II , 135 . 39 ) Sp . 40 . 40 ) VI , 263 . 41 ) XII , 9 . 42 ) L. II , 278 . 44 ) Review of a Philosophical Enquiry ; vgl . Kleuker , S. 107 . lichkeit freien Lauf zu ...
... Tragödie auf die Freude zurück , den Gefühlen der Mensch- 38 ) L. II , 135 . 39 ) Sp . 40 . 40 ) VI , 263 . 41 ) XII , 9 . 42 ) L. II , 278 . 44 ) Review of a Philosophical Enquiry ; vgl . Kleuker , S. 107 . lichkeit freien Lauf zu ...
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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.