Aristotle's Treatise on Poetry, Translated: With Notes on the Translation, and on the Original : and Two Dissertations, on Poetical, and Musical, Imitation, Band 1L. Hansard & Son, 1812 |
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Seite xix
... follow the Translation , and the two Dissertations prefixed to it , ( which indeed are but longer notes thrown into that form , ) I wish to be considered as the principal part of my design . They form a full , and nearly a continued ...
... follow the Translation , and the two Dissertations prefixed to it , ( which indeed are but longer notes thrown into that form , ) I wish to be considered as the principal part of my design . They form a full , and nearly a continued ...
Seite 7
... follows , of its sense ; for he adds , " The imitative harmony and the poetry are " indeed admirable ; but I doubt whether a person who “ understands neither Italian nor Latin , could even guess at " the meaning from the sound . ” There ...
... follows , of its sense ; for he adds , " The imitative harmony and the poetry are " indeed admirable ; but I doubt whether a person who “ understands neither Italian nor Latin , could even guess at " the meaning from the sound . ” There ...
Seite 27
... follows . - I shall only add , for fear of mistake , that there is also , in the second of those lines , descriptive imitation ; but descriptive of Eneas only ; not of Dido's passion , though it strongly indicates that passion . - All I ...
... follows . - I shall only add , for fear of mistake , that there is also , in the second of those lines , descriptive imitation ; but descriptive of Eneas only ; not of Dido's passion , though it strongly indicates that passion . - All I ...
Seite 45
... follows this description , that the country had no charms for Socrates . His apology is curious . He could " learn nothing from fields and trees . ” Συγγινωσκε δη μοι , ὦ άρισε , he says to Phædrus , who had rallied him on that sub ...
... follows this description , that the country had no charms for Socrates . His apology is curious . He could " learn nothing from fields and trees . ” Συγγινωσκε δη μοι , ὦ άρισε , he says to Phædrus , who had rallied him on that sub ...
Seite 90
... follow . But touching , & c . - but I cannot say I recollect any air in that key which makes an impression that can properly be called melancholy . But we must be careful in this matter to allow for the magic of association , which no ...
... follow . But touching , & c . - but I cannot say I recollect any air in that key which makes an impression that can properly be called melancholy . But we must be careful in this matter to allow for the magic of association , which no ...
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Häufige Begriffe und Wortgruppen
action Æneid Æschylus answer antients appears applied Aristotle Aristotle's assertion beautiful called character Chorus circumstances colour Comedy common considered critics Dacier degree described discovery Dissertation distinct Dithyrambic dramatic effect emotions Empedocles Epic Poem Epic Poetry Episodes Euripides example expression fable farther fiction flute Greek hexameter Homer Iambic ideas Iliad Imitative Art instance kind landscape language least manners means mentioned merely metre modern motion Music nature NOTE object observed obvious Odyssey original painting passage passion person Philoctetes philosophical Plato pleasure Plutarch Poet Poet's Poetic imitation Poetry Polygnotus Pope's principle probable produced proper prose racters reader resemblance respect says Sect seems sense sensible sentiments Sophocles Sophron sort sound speaking species speech Suidas suppose syrinx Theophrastus thing tion Tragedy Tragic translation treatise Ulysses verse Victorius whole word Imitation writers γαρ δε δια ἐκ ἐν και μεν μη μιμησιν τε τοις των
Beliebte Passagen
Seite 16 - And ever against eating cares Lap me in soft Lydian airs Married to immortal verse, Such as the meeting soul may pierce In notes, with many a winding bout Of linked sweetness long drawn out, With wanton heed and giddy cunning, The melting voice through mazes running, Untwisting all the chains that tie The hidden soul of harmony; That Orpheus...
Seite 19 - The noisy geese that gabbled o'er the pool, The playful children just let loose from school ; The watch-dog's voice that bay'd the whispering wind, And the loud laugh that spoke the vacant mind ; These all in sweet confusion sought the shade, And fill'd each pause the nightingale had made.
Seite 122 - A whole is that which has a beginning, a middle, and an end. A beginning is that which does not itself follow anything by causal necessity, but after which something naturally is or comes to be. An end, on the contrary, is that which itself naturally follows some other thing, either by necessity, or as a rule, but has nothing following it. A middle is that which follows something as...
Seite 18 - Sweet was the sound when oft at evening's close, Up yonder hill the village murmur rose; There as I past with careless steps and slow, The mingling notes came softened from below; The swain responsive as the milk-maid sung, The sober herd that lowed to meet their young, The noisy geese that gabbled o'er the pool, The playful children just let loose from school, The watch-dog's voice that...
Seite 25 - Atinas sustentant aciem. Circum hos utrimque phalanges stant densae, strictisque seges mucronibus horret ferrea: tu currum deserto in gramine versas.' Obstupuit varia confusus imagine rerum 665 Turnus et obtutu tacito stetit. Aestuat ingens uno in corde pudor mixtoque insania luctu et furiis agitatus amor et conscia virtus.
Seite 156 - It may be observed, that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and, in view of his reward, he shortened the labour to snatch the profit. He therefore remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.
Seite 19 - To th' instruments divine respondence meet; The silver-sounding instruments did meet With the base murmur of the waters' fall ; The waters' fall with difference discreet, Now soft, now loud, unto the wind did call; The gentle warbling wind low answered to all.
Seite 119 - For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse.
Seite 136 - Nor, again, should the fall of a very bad man from prosperous to adverse fortune be represented : because, though such a subject may be pleasing from its moral tendency, it will produce neither pity nor terror. For our pity is excited by misfortunes undeservedly suffered, and our terror by some resemblance between the sufferer and ourselves.
Seite 114 - Epic poetry agrees so far with tragic as it is an imitation of great characters and actions by means of words; but in this it differs, that it makes use of only one kind of metre throughout, and that it is narrative. It also differs in length, for tragedy endeavours, as far as possible, to confine its action within the limits of a single revolution of the sun, or nearly so; but the time of epic action is indefinite.