Ariosto, Shakespeare and Corneille

What we have hitherto described as the sentiment of Shakespeare corresponds to the Shakespeare carven in the general consciousness, that which is Shakespeare in an eminent degre...

Nevertheless, when all this has been said and the conclusion drawn, there remains the general impression of the work, which has in it something of the grandiose, and brings back...

Criticism of Shakespeare, like every criticism, has followed and expressed the progress and alternations of the philosophy of art, or aesthetic; it has been strong or weak, prof...

The first change to manifest itself in them so soon as they were touched by the Harmony which sang at the bottom of the poet's heart, was their loss of autonomy, their submissio...

The motives of Shakespeare's poetry having been described, there is no occasion for the further question as to the way in which he has made of them concrete poetry, in other wor...

There is no longer any necessity for a criticism of Corneille's tragedies in a negative sense, for it is already to be found in several works. Further, if there exists a poet, w...

Everyone possesses at the bottom of his heart, as it were, a synthetic or compendious image of a poet like Shakespeare, who belongs to the common patrimony of culture, and in hi...

The poetry of Corneille, or what of poetry there is in him, is all to be found in the lyrical quality of the volitional situations, in those debates, remarks, solemn professions...

Had Ariosto been a philosopher or a poet-philosopher, he would have given us a hymn to Harmony, similar to a good many others which are to be found in the history of literature,...

From these last words, there can be no difficulty in seeing what must be our opinion as to the confrontations and comparative judgments instituted between Ariosto and Pulci or B...

To state at the outset, that the practical personality of Shakespeare is not the object of study for the critic and historian of art, but his poetical personality; not the chara...

The ideal of the deliberative will, then, formed the real, living _passion_ of this man devoid of passions; for no one that lives can withhold himself from passion: he is only a...

Ariosto had ordinary emotional experiences in life, and this has been shown to be true, not so much through the biographies of his contemporaries and documents which have later...

The fortune of the _Orlando Furioso_ may be compared to that of a graceful, smiling woman, whom all look upon with pleasure, without experiencing any intellectual embarrassment...

But we on the other hand shall name her, and we shall call her Harmony, and we shall prove that those who assign a simple aim to Ariosto in the _Furioso,_ Art or Pure Form, were...

Shakespeare (and this applies to every individual work) had a history, but has one no longer. He had a history, which was that of his poetical sentiment, of its various changing...

I A CRITICAL PROBLEM II THE LIFE OF THE AFFECTIONS IN ARIOSTO, AND THE HEART OF HIS HEART III THE HIGHEST LOVE: HARMONY IV THE MATERIAL FOR THE HARMONY V THE REALISATION OF HARM...

VII THE PRACTICAL PERSONALITY AND THE POETICAL PERSONALITY VIII SHAKESPEAREAN SENTIMENT IX MOTIVES AND DEVELOPMENT OF SHAKESPEARE'S POETRY X THE ART OF SHAKESPEARE XI SHAKESPEAR...