Essays on the Study and Use of Poetry by Plutarch and Basil the GreatFrederick Morgan Padelford H. Holt, 1902 - 136 頁 |
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第 1 到 5 筆結果,共 36 筆
第 14 頁
... nature and to truth ; thirdly , his theory of the end of fine art . Wherein do poetry and prose differ ? Although Plutarch does not follow Aristotle in threatening the established tradition which made metrical form essential to poetry ...
... nature and to truth ; thirdly , his theory of the end of fine art . Wherein do poetry and prose differ ? Although Plutarch does not follow Aristotle in threatening the established tradition which made metrical form essential to poetry ...
第 15 頁
... nature , and designed to teach rather than to move , demand the severity and directness of prose . Subjects of a didactic nature are purely intellectual , and demand perfect simplicity in expres- sion . Poetry , on the other hand , is ...
... nature , and designed to teach rather than to move , demand the severity and directness of prose . Subjects of a didactic nature are purely intellectual , and demand perfect simplicity in expres- sion . Poetry , on the other hand , is ...
第 16 頁
... natural and sincere play of the emotions was equipped with a genius for metrical utterance , and responded to the slightest excitation with spontaneous and melodious poetry ; accordingly their banquets , where wine flowed and spirits ...
... natural and sincere play of the emotions was equipped with a genius for metrical utterance , and responded to the slightest excitation with spontaneous and melodious poetry ; accordingly their banquets , where wine flowed and spirits ...
第 17 頁
... nature and training have given him . Even the Pythian priestess , if brought up among the ignorant , must utter her oracles in prose.1 The necessity for this element of judgment in the produc- tion of works of art is considered at ...
... nature and training have given him . Even the Pythian priestess , if brought up among the ignorant , must utter her oracles in prose.1 The necessity for this element of judgment in the produc- tion of works of art is considered at ...
第 18 頁
... nature and to truth . Does poetry copy nature or transcend it ? Is it truthful or untruthful ? Is it universal or restricted ? We shall find an answer to these questions in determining Plutarch's use of the expression ' imitation ...
... nature and to truth . Does poetry copy nature or transcend it ? Is it truthful or untruthful ? Is it universal or restricted ? We shall find an answer to these questions in determining Plutarch's use of the expression ' imitation ...
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Achilles action admiration Aeschylus Agamemnon anger Antisthenes Aristophanes Aristotle artistic Athens base Basil beautiful Bergk better character CHARLES GROSVENOR OSGOOD charm CHIG CHIG UNIV Christian Chrysippus Cicero deeds divine doctrines Euripides excellence expression FMIC FMIC SITY Fortune GAN ERSITY give Gnosticism gods Gregory Hector Hesiod Homer Ibid imitative art judgment learning lest Meineke Menander ment MIC UNIV mind moral nature Nauck Odys Odysseus one's pagan passages passion Peripatetic Ph.D philosophy Plato pleasure Plutarch Plutarch's theory poem poet poetic poetry praise precept Pythagoras relation of poetry render reproach riches RSITY MIC says Schlemm sentiments SITY UNIV Sophocles soul Stoics study of poetry Study Poetry teach thee things thou thought tragedy translation truth UNIV AN RSITY UNIV AN UNIVE UNIV GAN UNIV MIC UNIV RSITY UNIV UNIV utter verses viii virtue wealth Wherefore wisdom wise words writings young youth Zeus καὶ
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第 72 頁 - Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative ; through pity and fear effecting the proper purgation of these emotions.
第 60 頁 - I became, to my best memory, so much a proficient that if I found those authors anywhere speaking unworthy things of themselves, or unchaste of those names which before they had extolled, this effect it wrought with me; from that time forward their art I still applauded, but the men I deplored...
第 52 頁 - 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.
第 20 頁 - Poetry in general seems to have sprung from two causes, each of them lying deep in our nature. First, the instinct of imitation is implanted in man from childhood, one difference between him and other animals being that he is the most imitative of living creatures, and through imitation learns his earliest lessons; and no less universal is the pleasure felt in things imitated.
第 53 頁 - Poetry, therefore, is a more philosophical and a higher thing than history, for poetry tends to express the universal, history the particular. By the universal, I mean how a person of a certain type will on occasion speak or act, according to the law of probability or necessity; and it is this universality at which poetry aims in the names she attaches to the personages.
第 28 頁 - And when the boy has learned his letters, and is beginning to understand what is written, as before he understood only what was spoken, they put into his hands the works of great poets, which he reads...
第 64 頁 - This is the lot the gods have spun for miserable men, that they should live in pain; yet themselves are sorrowless.
第 21 頁 - Again, since Tragedy is an imitation of persons who are above the common level, the example of good portrait-painters should be followed. They, while reproducing the distinctive form of the original, make a likeness which is true to life and yet more beautiful.
第 73 頁 - language embellished," I mean language into which rhythm, "harmony," and song enter. By "the several kinds in separate parts," I mean, that some parts are rendered through the medium of verse alone, others again with the aid of song.