William Shakespeare: The Critical Heritage Volume 4 1753-1765Brian Vickers Routledge, 1. 9. 2003 - Počet stran: 568 The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material. |
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Strana xiii
... performance. Yet the aesthetic ideas of the period determined that his plays should be changed to conform to current concepts of dramatic structure or style. These aesthetic ideas are also evident in the scholarly discussion of how he ...
... performance. Yet the aesthetic ideas of the period determined that his plays should be changed to conform to current concepts of dramatic structure or style. These aesthetic ideas are also evident in the scholarly discussion of how he ...
Strana 15
... performance no more rises from deception than that which [we] have in looking at pictures. No one ever imagined that he saw the sacrifice of Iphigenia; no more did anyone imagine that he saw King Richard the Third. Everyone knows that ...
... performance no more rises from deception than that which [we] have in looking at pictures. No one ever imagined that he saw the sacrifice of Iphigenia; no more did anyone imagine that he saw King Richard the Third. Everyone knows that ...
Strana 18
... performance acted', but complained that Marsh had not only failed to restore the Unity of Place, 'for the scene is still shifted from one Kingdom to another', but had also retained the deaths of Mamilius, Antigonus, and the ship's crew ...
... performance acted', but complained that Marsh had not only failed to restore the Unity of Place, 'for the scene is still shifted from one Kingdom to another', but had also retained the deaths of Mamilius, Antigonus, and the ship's crew ...
Strana 20
... Performances, and even by many thought so meanly of as to be deemed the Work of some inferior hand, in which Shakespeare bore but a very small part' (xxviii, p. 75). The agreement between adapters and reviewers held, then, for a number ...
... Performances, and even by many thought so meanly of as to be deemed the Work of some inferior hand, in which Shakespeare bore but a very small part' (xxviii, p. 75). The agreement between adapters and reviewers held, then, for a number ...
Strana 25
... performances at Drury Lane 1,065 (approximately 20 per cent of the total) were of Shakespeare: yet only nine plays were performed. At Covent Garden the figures are 5,192, of which 852 (approximately 16 per cent) were of Shakespeare, but ...
... performances at Drury Lane 1,065 (approximately 20 per cent of the total) were of Shakespeare: yet only nine plays were performed. At Covent Garden the figures are 5,192, of which 852 (approximately 16 per cent) were of Shakespeare, but ...
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absurd actor adaptation admirable altered Antony and Cleopatra appear Arthur Murphy beauties Caliban character Cibber Cinthio circumstances comedy Cordelia Coriolanus criticism Cymbeline daughters David Garrick death Desdemona Dr Johnson dramatic e’er edition English essay excellent expression eyes father faults Garrick genius give Goneril Hamlet hath heart heav’n honour Iago idea imagination imitation Imogen judgment King Lear King’s Lady language Lear’s Leonatus Leontes Lord Macbeth madness manner merit metaphor Midsummer Night’s Dream mind Murphy nature never night o’er observe ofthe Othello passage passion performance Philario piece Play poet poet’s poetical poetry Pope Prince propriety Queen rage reader Review Richard Richard III Romeo scene sense sentiments Shakespeare shew soliloquy soul speak speech spirit stage striking taste Tate Tempest theatre thee Theophilus Cibber thou thought thro Tragedy unnatural verse Veturia Warburton Winter’s Tale words wou’d writers