Versuch einer Geschichte des Geniebegriffs in der deutschen Ästhetik des 18. Jahrhunderts: 1. Bd.: Von Gottsched bis auf Lessing, Volume 1 |
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Addison anschauende Erkenntnis Anschluß Ästhe Ästhetik des 18 Auffassung Batteux Baumgarten Bedeutung Begeisterung Begriff Bemerkung besondere Bestimmung betrachtet Betrachtungen bloß Boileau Braitmaier Buch c'est Danzel deutschen Ästhetik Dichter Diderot Dubos Edward Young Eigenschaft Einbildungskraft Einfluß englischen Ästhetik Enthusiasmus Erfindung erklären ersten esprit fait Feuer Fleiß Flögel französischen Ästhetik Gedanken Gegenstand Geist geistigen genialen Genie genius Gerard Geschichte des Geniebegriffs Geschmack gibt Gott göttlichen Gottsched groß großen Genies heißt Helvétius herrschende Fähigkeit Herzens Ideal Imagination Jahre Jahrhunderts Johann Georg Sulzer Kapitel keit Kopf Kraft Kritik Kunst künstlerischen läßt Leibniz Lessing lich Mendelssohn Menschen muß Nachahmung Natur Naturell neue Original Originalität Perrault Phantasie Philosophie Poesie Poeten poetischen Psychologie qu'il raison rationalistischen Regeln Resewitz Schaffen schen schließlich schließt Schönheit schöpferische Seele seyn Shaftesbury Shakespeare spricht Sulzer Talent Theorie Trescho unsere untersuchen Urteilskraft Vermögen Vernunft Verstand Versuch einer Geschichte Walzel Werke Wesen des Genies Wissenschaften Witz Worte Young zeigt دو
Popular passages
Page 11 - If, where the rules not far enough extend, (Since rules were made but to promote their end) Some lucky Licence answer to the full Th' intent propos'd, that Licence is a rule.
Page 24 - I think them inferior to the first, but only for distinction's sake, as they are of a different kind. This second class of great geniuses are those* that have formed themselves by rules, and submitted the greatness of their natural talents to the corrections and restraints of art.
Page 10 - Tis with our judgments as our watches, none Go just alike, yet each believes his own. In poets as true genius is but rare, True taste as seldom is the critic's share; Both must alike from heaven derive their light, These born to judge, as well as those to write.
Page 24 - 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. It is odd to consider what great geniuses are sometimes thrown away upon trifles. "I once saw a shepherd...
Page 23 - In short, to cut off all cavilling against the ancients, and particularly those of the warmer climates, who had most heat and life in their imaginations, we are to consider that the rule of observing what the French call the bienseance in an allusion, has been found out of...
Page 23 - ... who, by the mere strength of natural parts, and without any assistance of art or learning, have produced works that were the delight of their own times, and the wonder of posterity.
Page 15 - 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 23 - Esprit, by which they would express a genius refined by conversation, reflection, and the reading of the most polite authors.
Page 3 - N'allez pas sur des vers sans fruit vous consumer , Ni prendre pour génie un amour de rimer : Craignez d'un vain plaisir les trompeuses amorces, Et consultez long-temps votre esprit et vos forces.
Page 62 - C'est alors que le génie prend sa lampe et l'allume, et que l'oiseau solitaire, sauvage, inapprivoisable, brun et triste de plumage, ouvre son gosier, commence son chant, fait retentir le bocage, et rompt mélodieusement le silence et les ténèbres...