Beiträge zur Geschichte des Geniebegriffs in EnglandM. Niemeyer, 1927 - 102 pages |
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Addison Ambrosi Anschauung vom künstlerischen Ansicht antiken Ariost Aristoteles Ästhetik Ausdruck Äußerungen Bedeutung Begeisterung des Dichters Begriff der Inspiration besonders Bruno Campanella Cardanus Dacier Dennis Dichtkunst divine doth Dryden Ebenda Edgar Zilsel Einfluß Elisabethanischen Elisabethanischen Zeitalter England englischen Enthusiasmus Entwicklung des Geniebegriffs Erfindung erste Essay Fähigkeit fancy furor Gegensatz Geistes Genius Gerard Gildon Giordano Bruno give good Gott göttlichen Begeisterung göttlichen Inspiration great Harmonie Homer Horaz Imagination indem invention irrationalen Jahrhunderts Jonson Klassizismus klassizistischen Kraft Kritik künstlerischen Schaffen Künstlers läßt learning lichen make Menschen Minturno muß Nachahmung Naturalismus natürlichen Begabung natürlichen Genies neuplatonischen Original Originalität Phantasie Phantasiebegriffs Philosophen Pindar Plato Plotins Poesie poesy Poet Poeta Poetik poetischen Schaffens Poetry Pope Puttenham Regeln Renaissance Rowe Rymer Scaliger schöpferischen Schöpferkraft schreibt Schrift Shaftesbury Shakespeare Sidney Smith Spingarn Stelle things thoughts true Vergil Verse Verstand verstandesmäßig Verstandestätigkeit wahre Dichter Warton Werk wieder Works Young Zilsel zitiert
Popular passages
Page 40 - The use of this feigned history hath been to give some shadow of satisfaction to the mind of man in those points wherein the nature of things doth deny it, the world being in proportion inferior to the soul...
Page 40 - 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.
Page 51 - Nothing is more ridiculous than to make an author a dictator, as the schools have done Aristotle. The damage is infinite knowledge receives by it; for to many things a man should owe but a temporary belief, and a suspension of his own judgment, not an absolute resignation of himself, or a perpetual captivity.
Page 40 - Therefore, because the acts or events of true history have not that magnitude which satisfieth the mind of man, poesy feigneth acts and events greater and more heroical : because true history propoundeth the successes and issues of actions not so agreeable to the merits of virtue and vice, therefore poesy feigns them more just in retribution, and more according to revealed providence...
Page 35 - Euen so the very Poet makes and contriues out of his owne braine both the verse and matter of his poeme, and not by any foreine copie or example, as doth the translator, who therefore may well be sayd a versifier, but not a Poet.
Page 36 - Neither let it be deemed too saucy a comparison to balance the highest point of man's wit with the efficacy of nature; but rather give right honor to the heavenly Maker of that maker, who, having made man to his own likeness, set him beyond and over all the works of that second nature; which in nothing he showeth so much as in poetry, when with the force of a divine breath he bringeth things forth far surpassing her doings...
Page 36 - Only the poet, disdaining to be tied to any such subjection, lifted up with the vigor of his own invention, doth grow, in effect, into another nature; in making things either better than nature bringeth forth, or quite anew; forms such as never were in nature, as the heroes, demi-gods, Cyclops, chimeras, furies, and such like...
Page 61 - Y1POYZ, has judiciously preferred the sublime genius that sometimes errs, to the middling or indifferent one, which makes few faults, but seldom or never rises to any excellence.
Page 88 - An imitation of the best authors is not to compare with a good original; and I believe we may observe that very few writers make an extraordinary figure in the world who have not something in their way of thinking or expressing themselves that is peculiar to them, and entirely their own.
Page 71 - Such a Poet is indeed a second Maker; a just Prometheus, under Jove. Like that Sovereign Artist or universal Plastick Nature, he forms a Whole, coherent and proportion'd in it-self, with due Subjection and Subordinacy of constituent Parts.