Borinski, Karl: Deutsche Poetik. Stuttgart, 1895.

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                  <item n="pageLabel">Seite.</item>
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                  <item>§ 65. Stoffwelt des Liedes<space dim="horizontal"/><ref>101</ref></item>
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                  <item>§ 66. Epigramm<space dim="horizontal"/><ref>102</ref></item>
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                  <item>§ 67. Chorlied<space dim="horizontal"/><ref>104</ref> </item>
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                  <item>§ 68. Auseinandertreten des Chores<space dim="horizontal"/><ref>105</ref></item>
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              <item>Kapitel 2. Das Drama. <lb n="pbo_006.007"/>
<list><item>§ 69. Jnneres Verhältnis der Lyrik zum Drama<space dim="horizontal"/><ref>106</ref></item><lb n="pbo_006.008"/><item>§ 70. Besonderer Charakter des Dramas<space dim="horizontal"/><ref>107</ref></item><lb n="pbo_006.009"/><item>§ 71. Bühnentechnik<space dim="horizontal"/><ref>109</ref> </item><lb n="pbo_006.010"/><item>§ 72. Dramatische Komposition<space dim="horizontal"/><ref>110</ref> </item><lb n="pbo_006.011"/><item>§ 73. Exposition und Katastrophe<space dim="horizontal"/><ref>112</ref></item><lb n="pbo_006.012"/><item>§ 74. Tragödie<space dim="horizontal"/><ref>113</ref></item><lb n="pbo_006.013"/><item>§ 75. Katharsis<space dim="horizontal"/><ref>113</ref></item><lb n="pbo_006.014"/><item>§ 76. Analyse der Schillerschen Maria Stuart<space dim="horizontal"/><ref>115</ref></item><lb n="pbo_006.015"/><item>§ 77. Das Drama mit glücklichem Ausgang<space dim="horizontal"/><ref>117</ref></item><lb n="pbo_006.016"/><item>§ 78. Das bürgerliche Trauerspiel<space dim="horizontal"/><ref>118</ref></item><lb n="pbo_006.017"/><item>§ 79. Die Komödie<space dim="horizontal"/><ref>119</ref></item><lb n="pbo_006.018"/><item>§ 80. Gegensatzfiguren<space dim="horizontal"/><ref>120</ref></item><lb n="pbo_006.019"/><item>§ 81. Die dramatische Fabel<space dim="horizontal"/><ref>121</ref></item></list></item>
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              <item>Kapitel 3. Das Epos. <lb n="pbo_006.021"/>
<list><item>§ 82. Verhältnis des epischen zum dramatischen Dichter<space dim="horizontal"/><ref>122</ref></item><lb n="pbo_006.022"/><item>§ 83. Stellung des epischen Dichters zu seinem Stoff<space dim="horizontal"/><ref>122</ref></item><lb n="pbo_006.023"/><item>§ 84. Epische Technik<space dim="horizontal"/><ref>123</ref></item><lb n="pbo_006.024"/><item>§ 85. Epischer Stil<space dim="horizontal"/><ref>125</ref></item><lb n="pbo_006.025"/><item>§ 86. Gefahren des epischen Stiles<space dim="horizontal"/><ref>127</ref></item><lb n="pbo_006.026"/><item>§ 87. Nationalepos<space dim="horizontal"/><ref>127</ref></item><lb n="pbo_006.027"/><item>§ 88. Religöses Epos<space dim="horizontal"/><ref>128</ref></item><lb n="pbo_006.028"/><item>§ 89. Das Tierepos<space dim="horizontal"/><ref>129</ref></item><lb n="pbo_006.029"/><item>§ 90. Komisches Epos<space dim="horizontal"/><ref>130</ref></item><lb n="pbo_006.030"/><item>§ 91. Der Roman<space dim="horizontal"/><ref>131</ref></item><lb n="pbo_006.031"/><item>§ 92. Komischer Roman<space dim="horizontal"/><ref>132</ref></item><lb n="pbo_006.032"/><item>§ 93. Jdee des Lebensromans<space dim="horizontal"/><ref>133</ref></item><lb n="pbo_006.033"/><item>§ 94. Jnhalt und Umfang des Lebensromans. Novelle<space dim="horizontal"/><ref>134</ref></item><lb n="pbo_006.034"/><item>§ 95. Jnhalt der Novelle vom Falken<space dim="horizontal"/><ref>135</ref></item><lb n="pbo_006.035"/><item>§ 96. Poetisch herabziehende Tendenz des Romans<space dim="horizontal"/><ref>136</ref></item><lb n="pbo_006.036"/><item>§ 97. Die Fabel<space dim="horizontal"/><ref>138</ref> </item><lb n="pbo_006.037"/><item>§ 98. Die Lehrdichtung<space dim="horizontal"/><ref>139</ref></item><lb n="pbo_006.038"/><item>§ 99. Dichter und Denker<space dim="horizontal"/><ref>140</ref></item></list></item>
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