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" The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and treasons real they would please no more. 11 Imitations produce pain or pleasure not because they are mistaken for realities, but because they bring realities... "
Court Magazine, and Monthly Critic: Containing Original Papers, by ... - الصفحة 259
1837
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Neo-Classical Dramatic Criticism 1560-1770

Thora Burnley Jones, Bernard De Bear Nicol - 1976 - عدد الصفحات: 188
...pregnant phrase, 'with all the credit due to drama'. Indeed, this is the source of our pleasure in drama: 'The delight of tragedy proceeds from our consciousness...murders and treasons real, they would please no more.' Verisimilitude, or the poet's truth to nature, demands consistency of characterisation and dialogue...
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Illusion and the Drama: Critical Theory of the Enlightenment and Romantic Era

Frederick Burwick - 2010
...auditor what he would himself feel, if he were to do or suffer what is there feigned to be suffered or done. The reflection that strikes the heart is not,...realities, but because they bring realities to mind. 30 As in reading a book, Johnson tells us, we retain "our consciousness of fiction." This is why the...
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Fictions of Reality in the Age of Hume and Johnson

Leopold Damrosch - 1989 - عدد الصفحات: 262
...race ("Frequent; usual; ordinary"). Art is not life, but it succeeds in proportion as it invokes life: "Imitations produce pain or pleasure not because they...realities, but because they bring realities to mind" (Preface 78). Fearing the power of art less than Johnson does, Hume develops a psychological aesthetics...
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Aesthetic Illusion: Theoretical and Historical Approaches

Frederick Burwick, Walter Pape, University of California (System). Humanities Research Institute - 1990 - عدد الصفحات: 478
...suffered or to be done [...]. The delight of tragedy proceeds from our conscious41 Ibid. p. 76. ness of fiction; if we thought murders and treasons real, they would please no more.42 Here, in the tradition of Aristotle, the arbitrary inventions of the playwright, subjected...
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Sources of Dramatic Theory: Volume 2, Voltaire to Hugo

D. J. Conacher - 1991 - عدد الصفحات: 292
...presence of misery, as a mother weeps over her babe, when she remembers that death may take it from her. The delight of tragedy proceeds from our consciousness...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...
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Thackeray's Cultural Frame of Reference: Allusion in The Newcomes

Rowland McMaster - 1991 - عدد الصفحات: 194
...how the drama moves, if it is not credited. It is credited with all the credit due to a drama .... The delight of tragedy proceeds from our consciousness...thought murders and treasons real, they would please no more.67 So with novels, and especially Thackeray's novels. They provide occasion for reflection and...
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The Winter's Tale

William Shakespeare - 1995 - عدد الصفحات: 151
...deceived: The truth is, that the spectators are always in their senses . . . '. He shrewdly added: 'Imitations produce pain or pleasure, not because...for realities, but because they bring realities to mind.'14 Actually, imitation, in a much more limited sense than Johnson's, is a highly conspicuous...
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Unlikely Stories: Causality and the Nature of Modern Narrative

Brian Richardson - 1997 - عدد الصفحات: 219
...factual. Nevertheless the fact remains that fiction is fiction. As Samuel Johnson cogently observes: "The delight of tragedy proceeds from our consciousness...murders and treasons real, they would please no more" (1960, 39). And since playing with conventions is virtually a convention of the novel, one should come...
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Realismustheorien in England (1692-1919)

Walter F. Greiner, Fritz Kemmler - 1997 - عدد الصفحات: 230
...necessary to open a new Vein of Humour, and 60 imitate] Vgl. Johnsons "Preface to Shakespeare" (1765): "Imitations produce pain or pleasure, not because...realities, but because they bring realities to mind." Zit. nach Shakespeare Criticism. A Selection, introduced by D. Nichol Smith (London, 1946), 96. 65...
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Samuel Johnson's "general Nature": Tradition and Transition in Eighteenth ...

Scott D. Evans - 1999 - عدد الصفحات: 168
...purpose of artistic representation and theirs.1 'Johnson's position is founded on the proposition that "imitations produce pain or pleasure, not because...realities, but because they bring realities to mind" (78). The critics' position, on the other hand, was based on evident absurdities that Johnson, by their...
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