Dryden's Heroic PlaysMacmillan, 1981 - Počet stran: 195 |
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Strana 72
... moves Catharine to re- monstrance , but her remonstrance does not , as we might also expect , replace disfigurement of Christ with imitation . Rather , she simply continues her self - directed concern with the dramatic decorum ...
... moves Catharine to re- monstrance , but her remonstrance does not , as we might also expect , replace disfigurement of Christ with imitation . Rather , she simply continues her self - directed concern with the dramatic decorum ...
Strana 86
Derek Hughes. Lyndaraxa and Almanzor move into conjunction at the mid - point of Act III ( and consequently of the ... move ; I fear it is the Lethargy of Love ! ' Tis he ; I feel him now in every part : Like a new Lord he vaunts about ...
Derek Hughes. Lyndaraxa and Almanzor move into conjunction at the mid - point of Act III ( and consequently of the ... move ; I fear it is the Lethargy of Love ! ' Tis he ; I feel him now in every part : Like a new Lord he vaunts about ...
Strana 118
... moved with one Passion or other , but keeps a medium between both , since he saw his love was not concerned in it , and that was the only thing that could move him either to joy or sorrow ” ( 1. ii . 80 [ 1 ] ) . The similarities ...
... moved with one Passion or other , but keeps a medium between both , since he saw his love was not concerned in it , and that was the only thing that could move him either to joy or sorrow ” ( 1. ii . 80 [ 1 ] ) . The similarities ...
Obsah
Preface | |
The Indian Queen 22 | |
The Indian Emperour | 38 |
Autorská práva | |
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Abdalla Acacis Achilles action Almahide Almahide's Almanzor appear asserts Assyria attempt Aureng-Zebe becomes beginning believe Berenice Boabdelin brings career Catharine Catharine's cause characters Christian claims concern Conquest continues contrast Cortez course creates criticism Cyrus death desire destroy divine dream Dryden echoes Emperor evidence example face fact fails falls fear final flaws follow force further give Granada Heav'n hero heroic plays honour human ideal identity illusion imagery immediately Indamora Indian interest King later less live London lover Lyndaraxa magnanimity Maximin merely mind mistress Montezuma moral Morat move nature never Nevertheless offers once Orazia parallel passion perfect Platonic Porphyrius portraying prisoners provides Queen reality reason refuses reveals rival role romance scene seek seems sense sexual similarly soon Soul speech spirit sustained tragedy triumph true turn villains virtue whereas