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 22 筆
第 25 頁
... sentiments in the mouths of characters . These things they do to secure emotional effects , wherefore one must not surrender himself unduly to the influence of poetry , but must remember its deceptive juggling , and bear in mind that ...
... sentiments in the mouths of characters . These things they do to secure emotional effects , wherefore one must not surrender himself unduly to the influence of poetry , but must remember its deceptive juggling , and bear in mind that ...
第 47 頁
... sentiments from the same author ; if this cannot be done , then by contradic- tory sentiments from other authors . V. The youth is to study the phrasing in order to get the exact meaning of a passage . VI . He is to study a word which ...
... sentiments from the same author ; if this cannot be done , then by contradic- tory sentiments from other authors . V. The youth is to study the phrasing in order to get the exact meaning of a passage . VI . He is to study a word which ...
第 48 頁
... sentiments found in poetry should be strengthened by comparison with the teach- ings of philosophy . Indeed , if we wed poetry to philosophy we rob it of its fictitious element and lend it seriousness . Conclusion . Young men need to be ...
... sentiments found in poetry should be strengthened by comparison with the teach- ings of philosophy . Indeed , if we wed poetry to philosophy we rob it of its fictitious element and lend it seriousness . Conclusion . Young men need to be ...
第 56 頁
... sentiments as the following : ' Leave me not unwept and unburied as thou goest hence ; ' and ' His soul , fleeting from his limbs , went down to the house of Hades , wailing its own doom , leaving manhood and youth ; " and ' Cut me not ...
... sentiments as the following : ' Leave me not unwept and unburied as thou goest hence ; ' and ' His soul , fleeting from his limbs , went down to the house of Hades , wailing its own doom , leaving manhood and youth ; " and ' Cut me not ...
第 60 頁
... sentiments , but assign disgusting and base words to base and disgust- ing characters , they will not get wrong notions about the poets . On the contrary , their suspicion of the character will extend to his acts and words , the ...
... sentiments , but assign disgusting and base words to base and disgust- ing characters , they will not get wrong notions about the poets . On the contrary , their suspicion of the character will extend to his acts and words , the ...
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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
熱門章節
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.