A course of lectures on dramatic art and literature . dins garden,are fruit and gem at once upon its immortal boughs:—French-men will not readily forget that he disparaged Moliere. Themerit of Schlegels dramatic criticism ought not, however, tobe thus limited. Englishmen themselves are deeply indebtedto him. His Lectures, translated by Black, excited greatinterest here when first published, some thirty years since,and have worthily taken a permanent place in our libraries. His collection of books, which was rather extensive, andrich in Oriental, especially Sanscrit literature, was sold byaucti
A course of lectures on dramatic art and literature . dins garden,are fruit and gem at once upon its immortal boughs:—French-men will not readily forget that he disparaged Moliere. Themerit of Schlegels dramatic criticism ought not, however, tobe thus limited. Englishmen themselves are deeply indebtedto him. His Lectures, translated by Black, excited greatinterest here when first published, some thirty years since,and have worthily taken a permanent place in our libraries. His collection of books, which was rather extensive, andrich in Oriental, especially Sanscrit literature, was sold byauction in Bonn, December, 1845. It appears by a chrono-logical list prefixed to the catalogue, that reckoning both hisseparate publications and those contributed to periodicals, hisprinted works number no fewer than 126. Besides these heleft many unpublished manuscripts, which, says the , he bequeathed to the celeDrated archteologist, Welcker, pro-fessor at the Royal University of Bonn, with a request thathe would cause them to be DRAMATIC LITERATURE. LECTURE I. Introduction—Spirit of True Criticism—Difference of Taste between theAncients and Modems—Classical and Romantic Poetry and Art—Divi-sion of Dramatic Literature; the Ancients, their Imitators, and theRomantic Poets. The object of the present series of Lectures will be to combinethe theory of Dramatic Art with its history, and to bringbefore my auditors at once its principles and its models. It belongs to the general philosophical theory of poetry, andthe other fine arts, to establish the fundamental laws of thebeautiful. Every art, on the other hand, has its o^rn specialtheory, designed to teach the limits, the difficulties, and themeans by which it must be regulated in its attempt to realizethose laws. For this purpose, certain scientific investigationsare indispensable to the aitist, although they have but littleattraction for those whose admiration of art is confined tothe enjoyment of the
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