Gerhart Hauptmann and John Galsworthy: A Parallel

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University of Pennsylvania, 1917 - 73 pages
 

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Page 39 - Ars est celare artem," and oblivious of the fact that, to be vital, to grip, such drama is in every respect as dependent on imagination, construction, selection, and elimination — the main laws of artistry — as ever was the romantic or rhapsodic play. The question of naturalistic technique will bear, indeed, much more study than has yet been given to it. The aim of the dramatist employing it is obviously to create such an illusion of actual life passing on the...
Page 40 - Allem Denken liegt Anschauung zugrunde. Auch ist das Denken ein Ringen: also dramatisch. Jeder Philosoph, der das System seiner logischen Konstruktionen vor uns hinstellt, hat es aus Entscheidungen errichtet, die er in den Parteistreitigkeiten der Stimmen seines Innern getroffen hat: demnach halte ich das Drama für den Ausdruck ursprünglicher Denktätigkeit, auf hoher Entwicklungsstufe, freilich ohne daß jene Entscheidungen getroffen werden, auf die es dem Philosophen ankommt.
Page 41 - A good plot is that sure edifice which slowly rises out of the interplay of circumstance on temperament, and temperament on circumstance, within the enclosing atmosphere of an idea.
Page 12 - Art is the one form of human energy in the whole world, which really works for union, and destroys the barriers between man and man.
Page 39 - ... us by its diversity and purity of form and invention, and whose province will be to disclose the elemental soul of man and the forces of Nature, not perhaps as the old tragedies disclosed them, not necessarily in the epic mood, but always with beauty and in the spirit of discovery.
Page 38 - The word, in fact, characterizes that artist whose temperamental preoccupation is with revelation of the actual interrelating spirit of life, character, and thought, with a view to enlighten himself and others; as distinguished from that artist — whom I call romantic — whose temperamental purpose is invention of tale or design with a view to delight himself and others. It is a question of temperamental antecedent motive in the artist, and nothing more.
Page 37 - ... romanticism. For me, a realist is by no means tied to naturalistic technique — he may be poetic, idealistic, fantastic, impressionistic, anything but — romantic; that, in so far as he is a realist, he cannot be. The word, in fact, characterises that artist whose temperamental preoccupation is with revelation of the actual inter-relating spirit of life, character, and thought, with a view to enlighten himself and others...
Page 39 - It is more than possible that these main channels will come to be two in number and situate far apart. The one will be the broad and clear-cut channel of naturalism, down which will course a drama poignantly shaped, and inspired with high intention, but faithful to the seething and multiple life around us, drama such as some are inclined to term photographic, deceived by a seeming simplicity into forgetfulness of the old proverb, Ars est celare artem...
Page 22 - To live — is to war with fiends That infest the brain and the heart; To write — is to summon one's self, And play the judge's part.
Page 39 - ... in the various departments of human life. It will be like a steady lamp, held up from time to time, in whose light things will be seen for a space clearly and in due proportion, freed from the mists of prejudice and partisanship. And the other of these two main channels will, I think, be a twisting and delicious stream, which will bear on its breast new barques of poetry, shaped, it may be, like prose, but a prose incarnating through its fantasy and symbolism all the deeper aspirations, yearning,...

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