Tradition und Neubeginn: Lessings Orientierung an der europäischen Tradition

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Rodopi, 1986 - Language Arts & Disciplines - 321 pages

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Section 4
201
Section 5
287
Copyright

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Page 88 - The composition of all poems is, or ought to be, of wit; and wit in the poet, or Wit writing (if you will give me leave to use a school-distinction), is no other than the faculty of imagination in the writer, which, like a nimble spaniel, beats over and ranges through the field of memory...
Page 91 - I am satisfied, if it cause delight: for delight is the chief, if not the only, end of poesy: instruction can be admitted but in the second place; for poesy only instructs as it delights.
Page 92 - I said before, are not only true imitations of nature, but of the best nature, of that which is wrought up to a nobler pitch. They present us with images more perfect than the life in any individual ; and we have the pleasure to see all the scattered beauties of nature united by a happy chemistry without its deformities or faults.
Page 72 - ... those that observe their similitudes, in case they be such as are but rarely observed by others, are said to have a good wit; by which, in this occasion, is meant a good fancy. But they that observe their differences, and dissimilitudes, which is called distinguishing, and discerning...
Page 97 - For the lively imitation of nature being in the definition of a play, those which best fulfil that law, ought to be esteemed superior to the others. 'Tis true, those beauties of the French poesy are such as will raise perfection higher where it is, but are not sufficient to give it where it is not...
Page 37 - ... il faut que ce soit une passion véritablement tragique, regardée comme une faiblesse , et combattue par des remords. Il faut ou que l'amour conduise aux malheurs et aux crimes, pour faire voir combien il est dangereux, ou que la vertu en triomphe, pour montrer qu'il n'est pas invincible : sans cela, ce n'est plus qu'un amour d'églogue ou de comédie.
Page 157 - Who would not rather read one of his plays, where there is not a single rule of the stage observed, than any production of a modern critic where there is not one of them violated...