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britishcritic1801 [2017/04/26 12:11] – Laila Dell'Anno | britishcritic1801 [2023/03/10 14:20] – Espaces insécables : remplacer la syntaxe "\ :" qui ne fonctionne plus par "(nbsp)". Timothée Léchot | ||
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- | ====== [James Mackintosh], | + | ====== [James Mackintosh], |
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- | Le deuxième article du volume 17 du [[britishcritic|British Critic]] | + | En janvier 1801, le deuxième article du volume 17 du [[britishcritic|British Critic]] |
Mackintosh constate, après avoir expliqué les contraintes de versification que rencontrent les poètes français ainsi que ses propres difficultés à juger d’un texte d’une langue étrangère : | Mackintosh constate, après avoir expliqué les contraintes de versification que rencontrent les poètes français ainsi que ses propres difficultés à juger d’un texte d’une langue étrangère : | ||
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- | « an estimate, in some degree, the merit of foreign writers. But in the art of style, we must in a great measure leave them to the jurisdiction of their natural judges, the scholars and critics of their own country. Yet the laws of literary hospitality seem to require, that we should not pass unnoticed **the work of the most illustrious poet in Europe**, who has taken refuge in England from the iron tyranny under which his country groans; who, equally superior to interest and danger, has never tarnished his fame, or prostituted his genius, by singing the praise of tyrants, and who still prefers conscientious poverty and honourable exile, to all the disgraceful distinctions and ignominious rewards of those who "dwell in the tents of iniquity." | + | « an estimate, in some degree, the merit of foreign writers. But in the art of style, we must in a great measure leave them to the jurisdiction of their natural judges, the scholars and critics of their own country. Yet the laws of literary hospitality seem to require, that we should not pass unnoticed **the work of the most illustrious poet in Europe**, who has taken refuge in England from the iron tyranny under which his country groans; who, equally superior to interest and danger, has never tarnished his fame, or prostituted his genius, by singing the praise of tyrants, and who still prefers conscientious poverty and honourable exile, to all the disgraceful distinctions and ignominious rewards of those who "dwell in the tents of iniquity." |
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===== Citation ===== | ===== Citation ===== | ||
+ | Après la discussion des chants 1 et 2, la critique procède au chant 3 auquel elle attribue une importance promordiale du point de vue de la poéticité en rapport avec un sujet "non littéraire" | ||
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+ | The third Canto exhibits one of the greatest victories of the genius of the poet, over the difficulty of his subject, that Poetry has to boast. Mineralogy and Botany are sciences that seem to us to have no kindred with Poetry ; and the greater part of modern attempts to clothe them with the ornaments of Poetry, have only served to confirm our opinion. The authors of such attempts have generally been compelled to hide the natural dryness of their subject under extravagant fictions and inflated style. As an example of the power of taste to surmount these obstacles, this Canto of the French Georgics will always be an object of admiration. | ||
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+ | But we must be excused if we confess our doubts, whether the pleasure conveyed be at all proportioned to the difficulties conquered, or the skill exerted. The majority of readers to whom poetry must be addressed, will always derive pleasure from descriptions which recal to their fancy Nature, as they themselves have observed it. But they will never receive the same delight from the most ingenious description of Nature, as it is analyzed and dissected by the naturalist. Such a description may indeed be admired for its skill, but it will generally excite more wonder than pleasure. It awakens no recollections, | ||
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+ | Whoever doubts the justness of these observations, | ||
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- | The third Canto exhibits one of the greatest victories of the genius of the poet, over the difficulty of his subject, that Poetry has to boast. Mineralogy and Botany are sciences that seem to us to have no kindred with Poetry ; and the greater part of modern attempts to clothe them with the ornaments of Poetry, have only served to confirm our opinion. The authors of such attempts have generally been compelled to hide the natural dryness of their subject under extravagant fictions and inflated style. As an example of the power of taste to surmount these obstacles, this Canto of the French Georgics will always be an object of admiration. But we must be excused if we confess our doubts, whether the pleasure conveyed beat all proportioned to the difficulties conquered, or the skill exerted. The majority of readers to whom poetry must be addressed, will always derive pleasure from descriptions which recal to their fancy Nature, as they themselves have observed it. But they will never receive the same delight from the most ingenious description of Nature, as it is analyzed and dissected by the naturalist. Such a description may indeed be admired for its skill, but it will generally excite more wonder than pleasure. It awakens no recollections, | ||
The great revolutions of which our globe bears the marks, suggest grand ideas of antiquity to the mind, which are most happily expressed in the following couplet: | The great revolutions of which our globe bears the marks, suggest grand ideas of antiquity to the mind, which are most happily expressed in the following couplet: | ||
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- | Vers concernés : [[chant3# | + | Vers concernés : [[chant3# |
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===== Liens externes ===== | ===== Liens externes ===== | ||
- | * Accès à la numérisation du texte\ : [[https:// | + | * Accès à la numérisation du texte(nbsp): [[https:// |
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Auteur de la page --- // | Auteur de la page --- // |