This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1912 Excerpt: ...For he shares with all great dramatists the conception of the drama as belonging to the arts which give pleasure to humanity: he attacks those problems of conduct which are of universal interest; he presents a noble conception of humanity on the spiritual side; and in the presentation of his plays he has exercised ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1912 Excerpt: ...For he shares with all great dramatists the conception of the drama as belonging to the arts which give pleasure to humanity: he attacks those problems of conduct which are of universal interest; he presents a noble conception of humanity on the spiritual side; and in the presentation of his plays he has exercised choice and selection to a considerable extent, and never deviated from his own ideal as a dramatic artist. This power of conveying a universal appeal in tefltrainprl forgis one which is characteristic of the art of the Latin races: and this art lends itself more readily to imitation and con-tinuance than any more individual form of art.3 For this 1 See note 1, p. 259. s Cf. Lemaitre, Corneille et la Poetique cFAristote: 'Enfin son uvre, telle qu'elle est, reste unique et souveraine dans l'histoire du theatre.' 3 See M. Salomon Reinaoh's comparison of French and German art in his Oxford lectures, 1911, where he shows that the nations which can present an ideal conception have found imitators, while the Germans, e. g., tend to the expression of individual characteristics which cannot be transmitted in a form to arouse sympathy or imitation in others. reason, perhaps, the French classical form has controlled to a great extent the development of the modern drama, while' the Elizabethan drama remains without a modern representative. A Shakespearean play is partly dependent forits effect on the dissociation of scenes, thus suggesting a view of life that is not fully expressed; the French classical drama on the connexion between them, thus expressing causes and consequences that are not fully apprehended in ordinary life. But both types of drama depend for their efficient and I coherent presentation of the main idea Q_n_the rapi...
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