Shakespeare and His CriticsHoughton Mifflin, 1909 - 386 էջ |
From inside the book
Արդյունքներ 59–ի 1-ից 5-ը:
Էջ 14
... story and the Toby- - - Aguecheek - Maria story . This is manifestly a reductio 14 SHAKESPEARE AND HIS CRITICS.
... story and the Toby- - - Aguecheek - Maria story . This is manifestly a reductio 14 SHAKESPEARE AND HIS CRITICS.
Էջ 15
Charles Frederick Johnson. Aguecheek - Maria story . This is manifestly a reductio ad absurdum , for the play is evidently a unit and the parts could not have been prepared separately and then put together . Mr. Swinburne , in his Study ...
Charles Frederick Johnson. Aguecheek - Maria story . This is manifestly a reductio ad absurdum , for the play is evidently a unit and the parts could not have been prepared separately and then put together . Mr. Swinburne , in his Study ...
Էջ 20
... story , some- times already dramatized , that appealed to Englishmen , or some incidents from English history as it was known to his contemporaries . Some account of the origin and development of the story is usually given in the ...
... story , some- times already dramatized , that appealed to Englishmen , or some incidents from English history as it was known to his contemporaries . Some account of the origin and development of the story is usually given in the ...
Էջ 21
... stories , or , at least , a reference to the originals , is given in Dowden's Shakspere Primer . VII . HISTORICAL DEVELOPMENT OF THE DRAMA The development of the Elizabethan drama and its position in the social life of London , and the ...
... stories , or , at least , a reference to the originals , is given in Dowden's Shakspere Primer . VII . HISTORICAL DEVELOPMENT OF THE DRAMA The development of the Elizabethan drama and its position in the social life of London , and the ...
Էջ 33
... story coldly tells , what poets feign At second hand , and picture without brain , Senseless and soulless shows , Ample and true with life , - - - to give a stage – voice , action , age , As Plato's year , and new scene of the world ...
... story coldly tells , what poets feign At second hand , and picture without brain , Senseless and soulless shows , Ample and true with life , - - - to give a stage – voice , action , age , As Plato's year , and new scene of the world ...
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Common terms and phrases
action actor admiration æsthetic artist audience beauty Ben Jonson Bradley called character Coleridge comedy construction Cymbeline dramatic dramatist edition editors eighteenth century Elizabethan emendations English evident fact Falstaff feel Folio force French genius German ghost give Hamlet Hazlitt hero historical human nature Iago idea imagination interest Johnson Juliet King language Lear learned lines literary literature Love's Labour's Lost Macbeth Malone means Merchant of Venice Midsummer Night's Dream mind modern moral never Ophelia original Othello passages passion person playwright plot poem poet poetic poetry Pope Professor qualities quartos question regard Richard III romantic romanticist Rosalind rules says scene Schlegel seems sense Shake Shakespeare Shakespeare's plays Shakespearean criticism sometimes soul speare speare's spirit stage Steevens story Theobald things thought tion tragedy true Twelfth Night unity verse Warburton William Shakespeare Winter's Tale words write written
Սիրված հատվածներ
Էջ 8 - In the most high and palmy state of Rome, A little ere the mightiest Julius fell, The graves stood tenantless and the sheeted dead Did squeak and gibber in the Roman streets: As stars with trains of fire and dews of blood, Disasters in the sun; and the moist star, Upon whose influence Neptune's empire stands, Was sick almost to doomsday with eclipse...
Էջ 60 - He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul, All the images of Nature were still present to him, and he drew them, not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too.
Էջ 29 - Euripides, and Sophocles to us, Pacuvius, Accius, him of Cordova, dead, To life again, to hear thy buskin tread And shake a stage ; or, when thy socks were on, Leave thee alone for the comparison Of all that insolent Greece or haughty Rome Sent forth, or since did from their ashes come.
Էջ 178 - The form is mechanic, when on any given material we impress a predetermined form, not necessarily arising out of the properties of the material; as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form, on the other hand, is innate; it shapes, as it develops, itself from within, and the fullness of its development is one and the same with the perfection of its outward form.
Էջ 183 - On the stage we see nothing but corporal infirmities and weakness, the impotence of rage ; while we read it, we see not Lear, but we are Lear, — we are in his mind, we are sustained by a grandeur which baffles the "Malice of daughters and .storms.
Էջ 60 - I cannot say he is everywhere alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid; his comic wit degenerating into clenches, his serious swelling into bombast. But he is always great when some great occasion is presented to him...
Էջ 37 - By heaven, methinks it were an easy leap, To pluck bright honour from the pale-faced moon, Or dive into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowned honour by the locks...
Էջ 185 - But dearly do we pay all our life after for this juvenile pleasure, this sense of distinctness. When the novelty is past, we find to our cost that instead of realizing an idea, we have only materialized and brought down a fine vision to the standard of flesh and blood.
Էջ 119 - Yet the man thus corrupt, thus despicable, makes himself necessary to the prince that despises him, by the most pleasing of all qualities, perpetual gaiety; by an unfailing power of exciting laughter...
Էջ 123 - The work of a correct and regular writer is a garden accurately formed and diligently planted, varied with shades, and scented with flowers; the composition of Shakespeare is a forest, in which oaks extend their branches, and pines tower in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelter to myrtles and to roses; filling the eye with awful pomp, and gratifying the mind with endless diversity.