Shakespeare Criticism: A SelectionDavid Nichol Smith Oxford University Press, 1973 - Počet stran: 371 Commentary and literary criticism ranging from the preface by John Heminge and Henry Condell, originally 'prefixed to the First Folio' in 1623, to Thomas Carlyle's lecture 'The Hero as Poet, ' delivered 12th May, 1840 as the third lecture of his 'On heroes, hero-worship, and the heroic in history.' |
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Strana viii
... drama , following other methods , was attain- ing its highest perfection . There were scholars who , like Milton in Samson Agonistes , favoured neither English nor French methods , but held that Aeschylus , Sophocles , and Euripides ...
... drama , following other methods , was attain- ing its highest perfection . There were scholars who , like Milton in Samson Agonistes , favoured neither English nor French methods , but held that Aeschylus , Sophocles , and Euripides ...
Strana 95
... drama moves , if it is not credited . It is credited with all the credit due to a drama . It is credited , whenever it moves , as a just picture of a real original ; as representing to the auditor what he would himself feel , if he were ...
... drama moves , if it is not credited . It is credited with all the credit due to a drama . It is credited , whenever it moves , as a just picture of a real original ; as representing to the auditor what he would himself feel , if he were ...
Strana 248
... drama with Dryden's All For Love . Romeo and Juliet Lectures . I HAVE previously had occasion to speak at large on the subject of the three unities of time , place , and action , as applied to the drama in the abstract , and to the ...
... drama with Dryden's All For Love . Romeo and Juliet Lectures . I HAVE previously had occasion to speak at large on the subject of the three unities of time , place , and action , as applied to the drama in the abstract , and to the ...
Obsah
JOHN HEMINGE d 1630 | 1 |
JOHN MILTON 160874 | 7 |
MARGARET CAVENDISH DUCHESS Of Newcastle 162474 | 15 |
Autorská práva | |
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action admiration appear audience beauty Ben Johnson Caliban censure character circumstances comedy courage criticism daughters delight dialogue drama effect English equal Euripides excellence expressed faculties Falstaff fancy faults feelings force genius ghost give Hamlet hath heart HENRY HOME honour human humour Iago images imagination imitation impression judgment Julius Cæsar kind King Lady Macbeth Landor language Lear learning look Macbeth Maurice Morgann Milton mind moral murder nature never numbers object observation Othello passages passion perfect perhaps persons play poet poetical poetry Polonius praise principles qualities reader represented Richard Romeo and Juliet scene seems sense sentiments Shak Shake Shakespeare shew shewn Sir John Falstaff Sophocles soul speak speare speare's speech spirit stage sweet thee thing thou thought thro tion tragedy true truth Venus and Adonis whole William Shakespear words writers