| Heinrich Heine - 1887 - 380 pages
...which, owing to this identity, the greatest harmony is found to exist between the idea and its form. The treatment is romantic when the form does not reveal...through this identity, but lets this idea be surmised parabolically. (I use the word "parabolically" here in preference to "symbolically.") The Greek mythology... | |
| Albert Gehring - 1908 - 258 pages
...methods is aptly illustrated by a comparison between this drama and the Prometheus Bound of vEschylus. The latter is simple and bare, when contrasted with...we mean by this expression? Something very subtle, undefinable, but felt by all. If we analyse the feeling we shall find, I think, that it has its origin... | |
| Albert Gehring - 1908 - 256 pages
...the mystic suggestiveness, the colour and glow and intensity of Shelley's masterpiece. Literature 39 characterised as classic, Germanic literature as romantic....we mean by this expression? Something very subtle, undefinable, but felt by all. If we analyse the feeling we shall find, I think, that it has its origin... | |
| Albert Gehring - 1908 - 256 pages
...romantic. What are the distinguishing traits of the classic and romantic; how may both be defined? Heine says: The treatment is classic when the form...through this identity, but lets this idea be surmised parabolically. 1 Hedge says: We speak of romantic characters, romantic situations, romantic scenery.... | |
| Anton Pavlovich Chekhov - 1912 - 170 pages
...treatment is classical when the form of the representation is identical with the idea represented ; the treatment is romantic when the form does not reveal the idea through identity, but lets us divine it by an allegory" (Heine, "Deutschland," Book I.). that was a stupid... | |
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