 | Samuel Henry Butcher - Aesthetics - 1895 - 418 pages
...Place was generally held to follow as a corollary from Unity of Time.8 Corneille, the that any dramatic fable, in its materiality, was ever credible, or for a single moment was ever credited.' Dr. Johnson, Preface to Sfudcspeare. 1 With regard to Unity of Place Corneille says : « Cela aiderait... | |
 | William Shakespeare - 1898 - 462 pages
...pronounces to be false. It is false, that any representation is mistaken for reality; that any dramatic fable in its materiality was ever credible, or, for a single moment, was ever credited. 1 The objection arising from the impossibility of passing the first hour at Alexandria, and the next... | |
 | Ludwig Herrig - English literature - 1906 - 844 pages
...pronounces to be false. It is false that any representation 105 is mistaken for reality, that any dramatic fable in its materiality was ever credible, or, for...was ever credited. The objection arising from the im- no possibility of passing the first hour at Alexandria, and the next at Rome, supposes that, when... | |
 | Stendhal - Romanticism - 1907 - 254 pages
...reality; that any dramatic fable, in its materiality, was ever credible, or, for a singIe moment, was credited. The objection arising from the impossibility of passing the first hour at Alexandriu, and the next at Rome, supposes that, when the play opens, the spectator really imagines... | |
 | Stendhal - Romanticism - 1907 - 258 pages
...pronounces to be false. It is false that any representation is mistaken for reality ; that any dramatic fable, in its materiality, was ever credible, or, for a single moment, was credited. The objection arising from the impossibility of passing the first hour at Alexandria, and... | |
 | Doris Gunnell - Comparative literature - 1909 - 346 pages
...false. It is false that any representation is mistaken for reality ; that any dramatic fable in ils materiality was ever credible, or, for a single moment,...the first hour at Alexandria and the next at Rome, supscenico et qui, il n'ya qu'un instant, était la place SaintMarc à Venise, ne peut pas être, cinq... | |
 | Percy Hazen Houston - 1923 - 346 pages
...premises. With unexampled audacity he tells the regular critic, "by the authority of Shakespeare," that it is false "that any representation is mistaken for...credible, or, for a single moment, was ever credited." This bold clearing of the decks by a sweeping denial of all dramatic illusion at once puts Johnson... | |
 | David Graham - Aesthetics - 1925 - 380 pages
...representation with reality. "It is false that any representation is mistaken for reality; that any dramatic fable in its materiality was ever credible, or, for a single moment, was ever credited. . . . Imitations produce pain or pleasure, not because they are mistaken for realities, but because... | |
 | Thora Burnley Jones, Bernard De Bear Nicol - Literary Criticism - 1976 - 200 pages
...and Farquhar are brought forward to justify Shakespeare's disregard of the unities of time and place. 'It is false that any representation is mistaken for...credible, or, for a single moment was ever credited.' Drama can only be credited, he says in a pregnant phrase, 'with all the credit due to drama'. Indeed,... | |
 | J. L. Styan - Drama - 1983 - 308 pages
...self-contradiction: 'It is false, that any representation is mistaken for reality; that any dramatic fable in its materiality was ever credible, or, for a single moment, was ever credited,' and 'Delusion, if delusion be admitted, has no certain limitation.'18 Bethell set himself the task... | |
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It is false, that any representation is mistaken for reality; that any dramatick fable in its materiality was ever credible, or, for a single moment, was ever credited. 
