Poetic Justice in the Drama: The History of an Ethical Principle in Literary CriticismUniversity Press, 1912 - Počet stran: 238 |
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Addison æsthetic Apologie argued argument Aristotle Aristotle's definition Aristotle's Theory aroused Beaumont and Fletcher called Catiline character comedy concerned Coriolanus crime death defence definition of tragedy Dennis discussion doctrine of poetic drama dramatic art Dryden emotions of pity England English criticism English literary criticism Essays ethical function Euripides fact favor fiction function of poetry Gildon Gorgon Greek Greek literature Harington Ibid idea of poetic idea of tragedy ideal instruction interpretation Jowett Julius Cæsar katharsis kind Last Age law of poetic literature ment Minturno moral effect objection observed passage pity and fear Plato play pleasure Poesie poetic justice poets Preface principle of poetic Professor Butcher proper published punishment of vice purgation Puritan Puttenham question Rapin reason reference reward of virtue rewards and punishments Roger Ascham rule Rymer says Scaliger Shakespeare Sidney Sophocles spectacle Spectator theory of poetry tion totle tragic true unhappy ending wicked
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Strana 110 - The use of this FEIGNED HISTORY hath been to give some shadow of satisfaction to the mind of man in those points wherein the nature of things doth deny it...
Strana 54 - There remains then the character between these two extremes, that of a man who is not eminently good and just, yet whose misfortune is brought about not by vice or depravity but by some error or frailty.
Strana 200 - ... carries his persons indifferently through right and wrong, and at the close dismisses them without further care and leaves their examples to operate by chance. This fault the barbarity of his age cannot extenuate, for it is always a writer's duty to make the world better, and justice is a virtue independent on time or place.
Strana 50 - In the second rank comes the kind of tragedy which some place first. Like the Odyssey, it has a double thread of plot and also an opposite catastrophe for the good and for the bad. It is accounted the best because of the weakness of the spectators, for the poet is guided in what he writes by the wishes of his audience.
Strana 122 - The end of tragedies or serious plays, says Aristotle, is to beget admiration, compassion, or concernment; but are not mirth and compassion things incompatible? and is it not evident that the poet must of necessity destroy the former by intermingling of the latter?
Strana 2 - We find that good and evil happen alike to all men on this side the grave; and as the principal design of tragedy is to raise commiseration and terror in the minds of the audience, we shall defeat this great end if we always make virtue and innocence happy and successful.
Strana 199 - He sacrifices virtue to convenience, and is so much more careful to please than to instruct, that he seems to write without any moral purpose.
Strana 34 - Zeus, or that the strife and contention of the gods was instigated by Themis and Zeus, he shall not have our approval; neither will we allow our young men to hear the words of Aeschylus, that God plants guilt among men when he desires utterly to destroy a house.
Strana 128 - Tragedy. Rapin, a judicious critic, has observed from Aristotle, that pride and want of commiseration are the most predominant vices in mankind; therefore, to cure us of these two, the inventors of Tragedy have chosen to work upon two other passions, which are fear and pity.
Strana 187 - I do not therefore dispute against this way of writing tragedies, but against the criticism that would establish this as the only method ; and by that means would very much cramp the English tragedy, and perhaps give a wrong bent to the genius of our writers.