Aristotle's Treatise on Poetry, Translated: With Notes on the Translation, and on the Original : and Two Dissertations, on Poetical, and Musical, Imitation, Band 1L. Hansard & Son, 1812 |
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... least guarded him from assenting to that erroneous interpretation , -sanctioned as it was by very eminent men , -which would have lowered , and in a great degree explained away , one of the most beautiful passages of the Iliad . Stilton ...
... of being read , with satis- faction . No work can be read with satisfaction if it is ill written ; and every translation is un- doubtedly ill written , that does not , as far , at least , 1 least , as language is concerned , read like.
... least , as language is concerned , read like an original ; that , on the contrary , to every reader , at once discovers itself to be translation , by that constrained uncouthness of expression , harshness of phrase , and embarrassment ...
Seite xi
... least of all , perhaps , would such liberty be excusable in a version of Aristotle , in whose writings , however perplexing on many other accounts , a translator is seldom embarras- sed by any of those delicate " blossoms of elo- cution ...
... least of all , perhaps , would such liberty be excusable in a version of Aristotle , in whose writings , however perplexing on many other accounts , a translator is seldom embarras- sed by any of those delicate " blossoms of elo- cution ...
Seite xiv
... least , seems to have been intended for little more than a col- lection of hints , or short memorial notes , and has sometimes almost the appearance of a syllabus for lectures , or a table of contents ; so that we might apply to it , in ...
... least , seems to have been intended for little more than a col- lection of hints , or short memorial notes , and has sometimes almost the appearance of a syllabus for lectures , or a table of contents ; so that we might apply to it , in ...
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Häufige Begriffe und Wortgruppen
action Æneid Æschylus Amphiaraus antients antistrophical appears applied Aristotle Aristotle's asserts Athenæus beautiful called character choral Chorus Cleophon Comedy common composed considered critics Dacier dialogue diction discovery Dithyrambic drama effect Empedocles Epic Poem Epic Poetry Episodes Eschylus Euripides example expression fable farther Greek Homer Iambic idea Iliad imitation incidents instance invention Iphigenia kind language manners means melody mentioned metaphor metre modern Music nature NOTE object observed Odyssey Oedipus Orestes original painting passage passion person Philoctetes philosopher Plato pleasure Plutarch Poet Poet's poetical Poetry Polygnotus Pope's principles probable produced proper prose racter reader resemblance respect Rhet rhythm ridiculous says Sect seems sense sentiments Sophocles sort sound speaking species speech Suidas suppose Telegonus Theophrastus thing tion Tragedy Tragic translation treatise Ulysses unity verse whole word writers γαρ δε δια ἐν και μεν μη μιμησιν περι τε τοις ὡς
Beliebte Passagen
Seite 16 - And ever against eating cares Lap me in soft Lydian airs Married to immortal verse, Such as the meeting soul may pierce In notes, with many a winding bout Of linked sweetness long drawn out, With wanton heed and giddy cunning, The melting voice through mazes running, Untwisting all the chains that tie The hidden soul of harmony; That Orpheus...
Seite 19 - The noisy geese that gabbled o'er the pool, The playful children just let loose from school, The watch-dog's voice that bayed the whispering wind. And the loud laugh that spoke the vacant mind, These all in sweet confusion sought the shade, And filled each pause the nightingale had made.
Seite 18 - The sober herd that lowed to meet their young, The noisy geese that gabbled o'er the pool, The playful children just let loose from school...
Seite 19 - To th' instruments divine respondence meet: The silver sounding instruments did meet With the base murmure of the waters fall : The waters fall with difference discreet, Now soft, now loud, unto the wind did call : The gentle warbling wind low answered to all.
Seite 119 - 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.
Seite 136 - Nor, again, should the fall of a very bad man from prosperous to adverse fortune be represented : because, though such a subject may be pleasing from its moral tendency, it will produce neither pity nor terror. For our pity is excited by misfortunes undeservedly suffered, and our terror by some resemblance between the sufferer and ourselves.
Seite 194 - The' immortals slumber'd on their thrones above; All, but the ever-wakeful eyes of Jove. To honour Thetis' son he bends his care, And plunge the Greeks in all the woes of war : Then bids an empty phantom rise to sight, And thus commands the vision of the night—
Seite 130 - Fables are of two sorts, simple and complicated; for so also are the actions themselves of which they are imitations. An action (having the continuity and unity prescribed) I call simple, when its catastrophe is produced without either revolution or discovery; complicated when with one or both. And these should arise from the structure of the fable itself, so as to be the natural consequences, necessary or probable, of what has preceded in the action. For there is a wide difference between incidents...
Seite 135 - Neither should the contrary change from adversity to prosperity be exhibited in a vicious character : this, of all plans, is the most opposite to the genius of Tragedy, having no one property that it ought to have; for it is neither gratifying in a moral view, nor affecting, nor terrible. Nor, again, should the fall of a very bad man from prosperous to adverse fortune...
Seite 114 - Epic poetry agrees so far with tragic as it is an imitation of great characters and actions by means of words; but in this it differs, that it makes use of only one kind of metre throughout, and that it is narrative. It also differs in length, for tragedy endeavours, as far as possible, to confine its action within the limits of a single revolution of the sun, or nearly so; but the time of epic action is indefinite.