The Comic in Theory & Practice

By Elizabeth T. Forter; Alvin Whitley et al. | Go to book overview

On Simple and Sentimental Poetry

FRIEDRICH SCHILLER

Friedrich Schiller, from "On Simple and Sentimental Poetry" [ 1795], in Essays Aesthetical and Philosophical ( London, George Bell Sons, 1884).

THE QUESTION has often been raised as to the comparative preference to be awarded to tragedy or comedy. If the question is confined merely to their respective themes, it is certain that tragedy has the advantage. But if our inquiry be directed to ascertain which has the more important personality, it is probable that a decision may be given in favour of comedy. In tragedy the theme in itself does great things; in comedy the object does nothing and the poet all. Now, as in the judgments of taste no account must be kept of the matter treated of, it follows naturally that the aesthetic value of these two kinds will be in an inverse ratio to the proper importance of their themes.

The tragic poet is supported by the theme, while the comic poet, on the contrary, has to keep up the aesthetic character of his theme by his own individual influence. The former may soar, which is not a very difficult matter, but the latter has to remain one and the same in tone; he has to be in the elevated region of art, where he must be at home, but where the tragic poet has to be projected and elevated by a bound. And this is precisely what distinguishes a soul of beauty from a sublime soul. A soul of beauty bears in itself by anticipation all great ideas; they flow without constraint and without difficulty from its very nature -- an infinite nature, at least in potency, at whatever point of its career you seize it. A sublime soul can rise to all kinds of greatness, but by an effort; it can tear itself from all bondage, to all that limits and constrains it, but only by strength of will. Consequently the sublime soul is only free by broken efforts; the other with case and always.

The noble task of comedy is to produce and keep up in us this freedom of mind, just as the end of tragedy is to re-establish in us this freedom of mind by aesthetic ways, when it has been violently suspended by passion. Consequently it is necessary that in tragedy the

-22-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
The Comic in Theory & Practice
Table of contents

Table of contents

  • Title Page iii
  • Preface v
  • Contents vii
  • Part I - Theory 1
  • Humour 3
  • Poetics 5
  • Author's Preface to Joseph Andrews 7
  • The Difficulty of Defining Comedy 10
  • A Comparison Between Laughing and Sentimental Comedy 12
  • On Wit and Humour 16
  • On Simple and Sentimental Poetry 22
  • On the Essence of Laughter 24
  • The Expression of the Emotions In Man and Animals 29
  • An Essay on Comedy and the Uses of the Comic Spirit 34
  • Meredith on Comedy 38
  • Laughter 43
  • Laughter 65
  • Wit and Its Relation to the Unconscious 69
  • Feeling and Form 81
  • Anatomy of Criticism 87
  • Verbal Behavior 92
  • Introduction to Joseph Andrews 100
  • Some Remarks on Humor 102
  • Notes on the Comic 109
  • The Thread of Laughter 116
  • Part II - Essays, Narratives, & Verse 123
  • My Finandal Career 125
  • On Riding 128
  • Showing Off 133
  • Dr. Arbuthnot's Academy 135
  • You Were Perfectly Fine 141
  • The Catbird Seat 145
  • Laura 154
  • Why I Live at the P.O. 159
  • A Reasonable Facsimile 171
  • A Voyage to the Country of the Houyhnhnms 192
  • The Rape of the Lock 257
  • The Cock and the Fox or, The Tale of the Nun's Priest 278
  • The Frogs Asked for a King 300
  • Ode on the Death of a Favourite Cat, Drowned in a Tub of Gold Fishes 302
  • The Lemmings: A Philosophical Poem 304
  • Departmental or, the End of My Ant Jerry 309
  • Mehitabel Dances with Boreas 311
  • Macavity: the Mystery Cat 315
  • A Wooden Darning Egg 317
  • The Mad Gardener's Song 318
  • The Flea 320
  • Under Which Lyre 321
  • Part III - For Discussion & Themes 327
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 340

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.