Lectures on the History of Literature: Ancient and Modern, Volume 2W. Blackwood, 1818 - 310 pagina's |
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Lectures on the History of Literature: Ancient and Modern, Volume 2 Friedrich von Schlegel Volledige weergave - 1818 |
Lectures on the History of Literature, Ancient and Modern, Volume 2 Friedrich von Schlegel Volledige weergave - 1818 |
Lectures on the History of Literature, Ancient and Modern, Volume 2 Friedrich von Schlegel Volledige weergave - 1818 |
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admiration ancient antiquity appears Ariosto Aristotle atheism attained attempts beauty Berkeley CALIFORNIA LIBRARY character chivalrous Christian composition connection corruption cultivated Dante defect Descartes doctrines doubt drama effect eighteenth century England English entirely epic error Europe evil excellence exerted expression external faith fancy feeling fifteenth century foreign France French French poetry genius German German language German literature Ghibelline Greek higher human ideas imitation influence intellect invention Italian Italy Klopstock knowledge least Leibnitz less literature Lope de Vega lyrical manner means middle age mode modern moral nation nature never opinion passion peculiar perfection period Petrarch philosophy poem poet poetical political possessed principle produced prose reason regard religion remarkable respect rich romance Shakespeare shew sixteenth Spain Spaniards Spanish Spanish poetry spirit style subjects Tasso theatre thing thought tion tragedy true truth UNIVERSITY OF CALIFORNIA Voltaire whole worthy writers
Populaire passages
Pagina 147 - The feeling by which he seems to have been most connected with ordinary men is that of nationality. He has represented the heroic and glorious period of English history, during the conquests in France, in a series of dramatic pieces which possess all the simplicity and liveliness of the ancient chronicles, but approach in their ruling spirit of patriotism and glory to the most dignified and effective productions of the epic Muse.
Pagina 144 - It is in these minor pieces of Shakespeare that we are first introduced to a personal knowledge of the great poet and his feelings. When he wrote sonnets, it seems as if he had considered himself as more a poet than when he wrote plays: he was the manager of a theatre, and he viewed the drama as his business; on it he exerted all his intellect and power: but when he had feelings intense and secret to express, he had recourse to a form of writing with which his habits had rendered him less familiar....
Pagina 39 - dangerous influx of paltry and superficial compositions, alike hostile to soundness of judgment and purity of taste, a sea of frothy conceits and noisy dullness, upon which the spirit of the age is tossed hither and thither, not without great and frequent danger of entirely losing sight of the compass of meditation, and the polar star of truth'.
Pagina 134 - The Christianity of this poet, however, does not consist so much in the external circumstances which he has selected, as in his peculiar feeling, and the method of treating his subject which is most common with him. Even where his materials furnish him with no opportunity of drawing the perfect developement of a new life out of death and suffering, yet every thing is conceived in the spirit of this Christian love, and every thing seen in its light, and clothed in the splendour of its heavenly colouring.
Pagina 148 - ... In the works of Shakespeare a whole world is unfolded. He who has once comprehended this, and been penetrated with its spirit, will not easily allow the effect to be diminished by the form, or listen to the cavils of those who are incapable of understanding the import of what they would criticize. The form of Shakespeare's writings will rather appear to him good and excellent, because in it his spirit is expressed and clothed, as it were, in a convenient garment. The poetry of Shakespeare is...
Pagina 131 - Shakespeare would not merely deserve to be called the first in his art, but there could scarcely be found a single poet, either among the ancients or the moderns, worthy for a moment to be compared with him. But in my opinion the art of the dramatic poet has, besides all this, yet another and a higher end. The enigma of life should not barely be expressed but solved ; the perplexities of the present should indeed be represented, but from them our view should be led to the last development and the...
Pagina 225 - The art of historical writing is evidently quite on the decline in England. One great cause of this consists, I imagine, in the want of any stable and satisfactory philosophy, a defect sufficiently apparent even in the three great writers whom I have enumerated. Without some rational and due conceptions of the fate and destiny of man, it is impossible to form any just and consistent opinion, even concerning the progress of events, the developement of times, and the fortunes of nations. In every situation...
Pagina 131 - ... external appearances, and these things are brought before us merely in perspective, and as pictures for the purposes of drawing our attention, and awakening the sympathy of our passions. The second order of the art is that, where in dramatic representations, together with passion and the pictoric appearance of things, a spirit of more profound sense and thought is...
Pagina 57 - The care of the national language I consider as at all times a sacred trust and a most important privilege of the higher orders of society. Every man of education should make it the object of his unceasing concern, to preserve his language pure and entire, to speak it, so far as is in his power, in all its beauty and perfection...
Pagina 225 - ... events, the developement of times, and the fortunes of nations. In every situation history and philosophy should be as much as possible united. Philosophy, if altogether separated from history, and destitute of the spirit of criticism, which is the result of the union to which I have alluded, can be nothing more than a wild existence of sect and formality. History, on the other hand, without the animating spirit of philosophy, is merely a dead heap of useless materials, devoid of internal unity,...