A History of Literary Criticism in the Renaissance, Հատոր 2Columbia University Press, 1899 - 350 էջ An essay examining the history of literary criticism in the Renaissance, with a focus on the sixteenth century. Divided into three sections devoted to: Italian criticism from Dante to Tasso, French criticism from Du Bellay to Boileau, and English criticism from Ascham to Milton. This study traces the origin of modern criticism to the critical activities of Italian humanism. |
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A History of Literary Criticism in the Renaissance, Հատոր 2 Joel Elias Spingarn Ամբողջությամբ դիտվող - 1908 |
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according action æsthetic ancient Ariosto Aris Aristotelian Aristotle says Aristotle's Poetics Art Poét Arte Poetica asserts attempt beauty Bellay Ben Jonson Bernardo Tasso Boileau Castelvetro character classical comedy comic conception Daniello deals Defence of Poesy Défense delight doctrine drama element emotions English epic poetry essential fact form of poetry formulated Fracastoro France French criticism French poetry Giraldi Cintio Greek heroic poetry Homer Horace human humanists Ibid ideal illustrious imitation influence Italian criticism Italy Jonson katharsis language Latin Laudun laws literary criticism literature Maggi mediæval medieval merely metres Middle Ages Minturno modern moral Muzio nature Orlando Furioso pagan perfect period Petrarch philosophy pity and fear Plato Pléiade poet poet's Poeta poetic art precepts regarded Renaissance criticism rhetorical Robortelli romantic romanzi Ronsard rules Scaliger Sidney sixteenth century Tasso teach theory of poetry things three unities tion tragic treatise Trissino truth Varchi Vauquelin verse Vida Virgil virtue writers
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Էջ 105 - Be not too tame neither, but let your own discretion be your tutor ; suit the action to the word, the word to the action; with this special observance: that you o'erstep not the modesty of nature ; for anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature ; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.
Էջ 80 - OF THAT SORT OF DRAMATIC POEM WHICH IS CALLED TRAGEDY. TRAGEDT, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems : therefore said by Aristotle to be of power, by raising pity and fear, or terror, to purge the mind of those and such like passions ; that is, to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated.
Էջ 287 - But deeds and language such as men do use, And persons such as Comedy would choose, When she would show an image of the times. And sport with human follies, not with crimes; Except we make 'em such, by loving still Our popular errors, when we know they're ill.
Էջ 88 - It may, by metaphor, apply itself Unto the general disposition ; As when some one peculiar quality Doth so possess a man, that it doth draw All his affects, his spirits, and his powers, In their confluctions, all to run one way, This may be truly said to be a humour.
Էջ 275 - And therefore it was ever thought to have some participation of divineness, because it doth raise and erect the mind, by submitting the shows of things to the desires of the mind ; whereas reason doth buckle and bow the mind unto the nature of things.
Էջ 28 - It is, moreover, evident from what has been said, that it is not the function of the poet to relate what has happened, but -what may happen, — what is possible according to the law of probability or necessity.
Էջ 89 - Unity of plot does not, as some persons think, consist in the unity of the hero. For infinitely various are the incidents in one man's life which cannot be reduced to unity; and so, too, there are many actions of one man out of which we cannot make one action.
Էջ 53 - But it is that feigning notable images of virtues, vices, or what else, with that delightful teaching which must be the right describing note to know a poet by...
Էջ 288 - For where the stage should always represent but one place, and the uttermost time presupposed in it should be, both by Aristotle's precept and common reason, but one day; there is both many days and many places inartificially imagined.
Էջ 305 - For they commend writers as they do fencers or wrestlers ; who if they come in robustuously, and put for it with a great deal of violence, are received for the braver fellows...