Lectures on Dramatic Art and Literature (tr John Black)

Lectures on Dramatic Art and Literature (tr John Black) [with accents]

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Title: Lectures on Dramatic Art and Literature
Author: August Wilhelm Schlegel trans John Black
Release Date: December, 2004 [EBook #7148] [Yes, we are more than one year ahead of schedule] [This file was first posted on March 17, 2003]
Edition: 10
Language: English
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"Were I to pray for a taste which should stand me in stead under every variety of circumstances, and be a source of happiness and cheerfulness to me during life, and a shield against its ills, however things might go amiss and the world frown upon me, it would he a taste for reading.... Give a man this taste, and the means of gratifying it, and you can hardly fail of making him a happy man; unless, indeed, you put into his hands a most perverse selection of Books. You place him in contact with the best society in every period of history,--with the wisest, the wittiest, the tenderest, the bravest, and the purest characters who have adorned humanity. You make him a denizen of all nations, a contemporary of all ages. The world has been created for him."--SIR JOHN HERSCHEL. _Address on the opening of the Eton Library_, 1833.
LECTURES ON DRAMATIC ART AND LITERATURE
BY AUGUST WILHELM SCHLEGEL.

CONTENTS.
Preface of the Translator.
Author's Preface.
Memoir of the Life of Augustus William Schlegel.
LECTURE I.
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 Imitators, and the Romantic Poets.
LECTURE II.
Definition of the Drama--View of the Theatres of all Nations--Theatrical Effect--Importance of the Stage--Principal Species of the Drama.
LECTURE III.
Essence of Tragedy and Comedy--Earnestness and Sport--How far it is possible to become acquainted with the Ancients without knowing Original Languages--Winkelmann.
LECTURE IV.
Structure of the Stage among the Greeks--Their Acting--Use of Masks--False comparison of Ancient Tragedy to the Opera--Tragical Lyric Poetry.
LECTURE V.
Essence of the Greek Tragedies--Ideality of the Representation--Idea of Fate--Source of the Pleasure derived from Tragical Representations--Import of the Chorus--The materials of Greek Tragedy derived from Mythology-- Comparison with the Plastic Arts.
LECTURE VI.
Progress of the Tragic Art among the Greeks--Various styles of Tragic Art --Aeschylus--Connexion in a Trilogy of Aeschylus--His remaining Works.
LECTURE VII.
Life and Political Character of Sophocles--Character of his different Tragedies.
LECTURE VIII.
Euripides--His Merits and Defects--Decline of Tragic Poetry through him.
LECTURE IX.
Comparison between the Choephorae of Aeschylus, the Electra of Sophocles, and that of Euripides.
LECTURE X.
Character of the remaining Works of Euripides--The Satirical Drama-- Alexandrian Tragic Poets.
LECTURE XI.
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--The Chorus and its Parabases.
LECTURE XII.
Aristophanes--His Character as an Artist--Description and Character of his remaining Works--A Scene, translated from the _Acharnae_, by way of Appendix.
LECTURE XIII.
Whether the Middle Comedy was a distinct species--Origin of the New Comedy--A mixed species--Its prosaic character--Whether 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.
LECTURE XIV.
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-Statues of two Comedians.
LECTURE XV.
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--Seneca.
LECTURE XVI.
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--Latest state.
LECTURE XVII.
Antiquities of the French Stage--Influence of Aristotle and the Imitation 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.
LECTURE XVIII.
Mischief resulting to the French Stage from too narrow Interpretation of the Rules of