The classical movement in French literatureThe University Press, 1923 - 164 pages |
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Page 21
... human knowledge and investi- gation , which is another " note " of the classical school , is without doubt due to Descartes . He was a philosopher and not primarily concerned with art or letters - indeed doctors differ as to how far he ...
... human knowledge and investi- gation , which is another " note " of the classical school , is without doubt due to Descartes . He was a philosopher and not primarily concerned with art or letters - indeed doctors differ as to how far he ...
Page 22
... human mind as the sole 3 source of knowledge1 colours the whole outlook of the century , so that when men spoke of nature , they meant human nature . Then his theory of the will as being the appointed regulator of the passions supplied ...
... human mind as the sole 3 source of knowledge1 colours the whole outlook of the century , so that when men spoke of nature , they meant human nature . Then his theory of the will as being the appointed regulator of the passions supplied ...
Page 34
... human model , without miracle and without extravagance . " In Polyeucte Corneille reached his zenith . In his later plays , though they contain much that is interesting and repays study , and though one , at least - Nicomède - is ...
... human model , without miracle and without extravagance . " In Polyeucte Corneille reached his zenith . In his later plays , though they contain much that is interesting and repays study , and though one , at least - Nicomède - is ...
Page 57
... human verities " of Polyeucte to the “ declama- tion " of La Mort de Pompée , and Le Menteur was succeeded by the boisterous farces of Scarron . The Hôtel de Ram- bouillet suffered from the general decline . Refinement was carried to ...
... human verities " of Polyeucte to the “ declama- tion " of La Mort de Pompée , and Le Menteur was succeeded by the boisterous farces of Scarron . The Hôtel de Ram- bouillet suffered from the general decline . Refinement was carried to ...
Page 72
... human reason , he was the living embodiment of that faculty of discerning truth from falsehood which Descartes called Reason ( see above , p . 21 ) . To quote his sister again , " il a toujours eu une netteté d'esprit admirable pour dis ...
... human reason , he was the living embodiment of that faculty of discerning truth from falsehood which Descartes called Reason ( see above , p . 21 ) . To quote his sister again , " il a toujours eu une netteté d'esprit admirable pour dis ...
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Expressions et termes fréquents
Academy action admirable anciens Andromaque Antoine Arnauld Antoine Godeau Aristotle avoient avoit bad taste beau beauté became began Boileau Boisrobert Bourdaloue Britannicus c'étoit century character characters choses classical cœur comedy connoissance Corneille Corneille's death Démosthène Descartes Despréaux Dieu dire disoit drama esprit estoit estre étoient étoit faisoit famous Fénelon first françois French friend gens Georges de Scudéry goût great Grèce Homère hommes Horace Hôtel de Rambouillet human nature interest Jesuit knowledge l'art L'École des Femmes l'esprit last letter letters life literary literature Malherbe médisance mesme Misanthrope Mlle Mme de Rambouillet modernes Molière Molière's Monsieur order ouvrages Pascal passions Perrault personne play poëme Poësie poëtes poetry pouvoit preached published quarrel Racan Racine raison reason representation rien same says scène Scudéry seroit seul siècle society study taste théâtre time tragédie tragic hero true truth verité vice whole work writer written wrote years
Fréquemment cités
Page 52 - The truth is that the spectators are always in their senses and know from the first act to the last that the stage is only a stage and that the players are only players.
Page 71 - Qu'on parle mal ou bien du fameux Cardinal, Ma prose ni mes vers n'en diront jamais rien : II m'a fait trop de bien pour en dire du mal, II m'a fait trop de mal pour en dire du bien.
Page 52 - Delusion, if delusion be admitted, has no certain limitation. If the spectator can be once persuaded that his old acquaintance are Alexander and Caesar, that a room illuminated with candles is the plain of Pharsalia, or the bank of Granicus, he is in a state of elevation above the reach of reason or of truth, and from the heights of empyrean poetry may despise the circumscriptions of terrestrial nature.
Page 115 - Car enfin, je trouve qu'il est bien plus aisé de se guinder sur de grands sentiments, de braver en vers la fortune, accuser les destins et dire des injures aux dieux , que d'entrer comme il faut dans le ridicule des hommes et de rendre agréablement sur le théâtre les défauts de tout le monde.
Page 135 - Quelques imitateurs, sot bétail, je l'avoue, Suivent en vrais moutons le pasteur de Mantoue. J'en use d'autre sorte; et, me laissant guider, Souvent à marcher seul j'ose me hasarder. On me verra toujours pratiquer cet usage. Mon imitation n'est point un esclavage : Je ne prends que l'idée, et les tours, et les lois Que nos maîtres suivaient eux-mêmes autrefois. Si d'ailleurs quelque endroit plein chez eux d'excellence...
Page 115 - Mais lorsque vous peignez les hommes, il faut peindre d'après nature ; on veut que ces portraits ressemblent, et vous n'avez rien fait si vous n'y faites reconnaître les gens de votre siècle.
Page 48 - Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun, or but slightly to exceed this limit; whereas the Epic action has no limits of time.
Page 15 - Prendre garde qu'un qui ne heurte une diphtongue ; Épier si des vers la rime est brève ou longue ; Ou bien si la voyelle, à l'autre s'unissant, Ne rend point à l'oreille un vers trop languissant.
Page 86 - ... se faire aimer des hommes ; ainsi la vie humaine n'est qu'une illusion perpétuelle. On ne fait que s'entretromper et s'entreflatter. Personne ne parle de nous en notre présence comme il en parle en notre absence; l'union qui est entre les hommes n'est fondée que sur cette mutuelle tromperie...
Page 52 - It is false, that any representation is mistaken for reality; that any dramatick fable in its materiality was ever credible, or, for a single moment, was ever credited.