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 13 筆
第 13 頁
... excellence of his own creations . Michel Angelo eagerly dropped the brush and resumed the chisel , with the joy of one who returns to the work he loves after interruption , and yet succeeding generations have been unable to tell whether ...
... excellence of his own creations . Michel Angelo eagerly dropped the brush and resumed the chisel , with the joy of one who returns to the work he loves after interruption , and yet succeeding generations have been unable to tell whether ...
第 14 頁
... excellence in criti- cism , he will be disappointed , and will find many pages that are distressingly pedantic , and many that are commonplace and trivial ; thus , when the charming episode of Nausicaa and Odysseus is made the subject ...
... excellence in criti- cism , he will be disappointed , and will find many pages that are distressingly pedantic , and many that are commonplace and trivial ; thus , when the charming episode of Nausicaa and Odysseus is made the subject ...
第 17 頁
... excellence must be grounded in philosophy . To summarize the conclusions already reached : while prose is didactic , and appeals to the intellect , poetry is 1 Ibid . 22 . 2 Among the Greeks music was accessory to poetry . Throughout ...
... excellence must be grounded in philosophy . To summarize the conclusions already reached : while prose is didactic , and appeals to the intellect , poetry is 1 Ibid . 22 . 2 Among the Greeks music was accessory to poetry . Throughout ...
第 23 頁
... excellence of a thing and the excellence of its imitation are not the same . Fitness and naturalness constitute excellence , but to things base , the base is natural and fit . " 1 To this passage two questions address themselves : What ...
... excellence of a thing and the excellence of its imitation are not the same . Fitness and naturalness constitute excellence , but to things base , the base is natural and fit . " 1 To this passage two questions address themselves : What ...
第 29 頁
... excellence of art may be gauged by pleasure , provided it is the kind of pleasure that may be experienced by ' the one man preeminent in virtue and education , " for ' the view which identifies the pleasant and the just and the good and ...
... excellence of art may be gauged by pleasure , provided it is the kind of pleasure that may be experienced by ' the one man preeminent in virtue and education , " for ' the view which identifies the pleasant and the just and the good and ...
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Achilles action admiration Aeschylus Agamemnon anger Antisthenes Aristophanes Aristotle artistic Athens base Basil beautiful Bergk better body called character CHARLES GROSVENOR OSGOOD charm Christian Chrysippus Cicero classical Cleanthes deceived deeds Diogenes divine doctrines emotion essay on poetry Euripides excellence expression fear fiction Fortune give Gnosticism gods Greek literature Greek philosophers Gregory Hector Hesiod Homer Ibid imitative art Introd judgment learning lest Meineke Menander ment mind moral nature Nauck Odys Odysseus one's pagan painting passages passion Peripatetic Ph.D Phaeacians philosophy Plato pleasure Plutarch Plutarch's theory poem poet poetic poetry praise precept Pythagoras reason relation of poetry render reproach riches says Schlemm Scriptures self-control sentiments Socrates Sophocles soul Stoics study of poetry Study Poetry Symposiacs teach thee Thersites things thou thought tragedy translation Trojans truth utter verses viii virtue wealth Wherefore wisdom wise wont words writings 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 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 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 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 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 19 頁 - ... how shall we answer the divine men? I think that our answer should be as follows: — Best of strangers, we will say to them, we also according to our ability are tragic poets, and our tragedy is the best and noblest; for our whole state is an imitation of the best and noblest life, which we affirm to be indeed the very truth of tragedy.