A Course of Lectures on Dramatic Art and Literature - August Wilhelm von Schlegel - Google Knihy

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LONDON:

HARRISON AND CO., PRINTERS,

ST. MARTIN'S LANE.

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Introduction-Spirit of True Criticism-Difference of Taste between

the Ancients and Moderns Classical and Romantic Poetry and

Art-Division of Dramatic Literature; the Ancients, their Imita-

tors, and the Romantic Poets..

Definition of the Drama-View of the Theatres of all Nations-The-

atrical Effect-Importance of the Stage-Principal Species of the

Essence of Tragedy and Comedy Earnestness and Sport-How far

it is possible to become acquainted with the Ancients without

knowing Original Languages-Winkelmann

Structure of the Stage among the Greeks-Their Acting-Use of

Masks-False comparison of Ancient Tragedy to the Opera Tra-

(gical Lyric Poetry....

Essence of the Greek Tragedies-Ideality of the Representation-

Idea of Fate--Source of the Pleasure derived from Tragical Repre-

sentations-Import of the Chorus-The materials of Greek Tragedy

derived from Mythology-Comparison with the Plastic Arts

Progress of the Tragic Art among the Greeks--Various styles of Tragic

Art-Eschylus-Connexion in a Trilogy of Æschylus-His re-

maining Works...

Life and Political Character of Sophocles-Character of his different

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Comparison between the Choephora of Eschylus, the Electra of

Sophocles, and that of Euripides

Character of the remaining Works of Euripides The Satirical

Drama-Alexandrian Tragic Poets

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The Old Comedy proved to be completely a contrast to Tragedy-

Parody Ideality of Comedy the reverse of that of Tragedy—

Mirthful Caprice - Allegoric and Political Signification

Chorus and its Parabases.........

Aristophanes-His Character as an Artist-Description and Character

of his remaining Works-A Scene, translated from the Acharnæ,

by way of Appendix......

Whether the Middle Comedy was a distinct species-Origin of the

New Comedy-A mixed species-Its prosaic character-Whe-

ther versification is essential to Comedy-Subordinate kinds

Pieces of Character, and of Intrigue-The Comic of observation,

of self-consciousness, and arbitrary Comic-Morality of Comedy 174

Plautus and Terence as Imitators of the Greeks, here examined and

characterized in the absence of the Originals they copied-Motives

of the Athenian Comedy from Manners and Society-Portrait-Sta-

tues of two Comedians.......

Roman Theatre-Native kinds: Atellane Fables, Mimes, Comoedia

Togata--Greek Tragedy transplanted to Rome-Tragic Authors of a

former Epoch, and of the Augustan Age-Idea of a National Roman

Tragedy-Causes of the want of success of the Romans in Tragedy

The Italians-Pastoral Dramas of Tasso and Guarini-Small progress

in Tragedy-Metastasio and Alfieri-Character of both-Comedies

of Ariosto, Aretin, Porta- Improvisatore Masks-Goldoni-Gozzi

Antiquities of the French Stage-Influence of Aristotle and the Imi-

tation of the Ancients-Investigation of the Three Unities-What

is Unity of Action?-Unity of Time-Was it observed by the

Greeks?- Unity of Place as connected with it

Mischief resulting to the French Stage from too narrow Interpreta-

tion of the Rules of Unity-Influence of these rules on French

Tragedy-Manner of treating Mythological and Historical Materials

-Idea of Tragical Dignity-Observation of Conventional Rules-

False System of Expositions

Use at first made of the Spanish Theatre by the French-General

Character of Corneille, Racine, and Voltaire-Review of the prin-

cipal Works of Corneille and of Racine-Thomas Corneille and

Voltaire-Tragedies on Greek Subjects: Edipe, Merope, Oreste—

Tragedies on Roman Subjects: Brute, Morte de César, Catiline,

Le Triumvirat-Earlier Pieces: Zaire, Alzire, Mahomet, Semi-

ramis, and Tancred..

French Comedy-Molière-Criticism of his Works-Scarron, Bour-

sault, Regnard; Comedies in the Time of the Regency; Marivaux

and Destouches; Piron and Gresset-Later Attempts-The Heroic

Opera: Quinault-Operettes and Vaudevilles-Diderot's attempted

Change of the Theatre-The Weeping Drama-Beaumarchais-

Melo-Dramas-Merits and Defects of the Histrionic Art................ 304

Comparison of the English and Spanish Theatres-Spirit of the Ro-

mantic Drama-Shakspeare-His Age and the Circumstances of his

Ignorance or Learning of Shakspeare-Costume as observed by Shak-

speare, and how far necessary, or may be dispensed with, in the

Drama-Shakspeare the greatest drawer of Character-Vindication

of the genuineness of his pathos-Play on Words-Moral Delicacy

-Irony-Mixture of the Tragic and Comic-The part of the Fool

or Clown-Shakspeare's Language and Versification

Criticisms on Shakspeare's Comedies...

Criticisms on Shakspeare's Tragedies..

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Two Periods of the English Theatre: the first the most important—

The first Conformation of the Stage, and its Advantages-State of

the Histrionic Art in Shakspeare's Time-Antiquities of Dramatic

Literature-Lilly, Marlow, Heywood-Ben Jonson; Criticism of

his Works-Masques-Beaumont and Fletcher-General Charac-

terization of these Poets, and Remarks on some of their Pieces-

Massinger and other Contemporaries of Charles I.

LECTURE XXVIII.

Closing of the Stage by the Puritans-Revival of the Stage under

Charles II.-Depravity of Taste and Morals-Dryden, Otway, and

others-Characterization of the Comic Poets from Wycherley and

Congreve to the Middle of the Eighteenth Century-Tragedies of

the same Period-Rowe-Addison's Cato-Later Pieces-Familiar

Tragedy: Lillo-Garrick-Latest State.........

Spanish Theatre-Its three Periods: Cervantes, Lope de Vega, Cal-

deron-Spirit of the Spanish Poetry in general-Influence of the

National History on it-Form, and various Species of the Spanish

Drama-Decline since the beginning of the Eighteenth Century

Origin of the German Theatre-Hans Sachs-Gryphius-The Age of

Gottsched-Wretched Imitation of the French-Lessing, Goethe,

and Schiller-Review of their Works-Their Influence on Chival-

rous Dramas, Affecting Dramas, and Family Pictures-Prospect

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