A Course of Lectures on Dramatic Art and Literature, 第 2 巻J. Templeman, 1840 |
他の版 - すべて表示
多く使われている語句
acquainted actors admiration altogether appearance Beaumont and Fletcher Ben Jonson bold Cæsar Calderon censure certainly character circumstances colours comedy comic composition considered Corneille critics dæmon death degree disguise displayed dramatic art dramatic poets effect elevation endeavours English entertainment exhibited expression Falstaff fancy favour feeling Fletcher foreign French German give Goethe Hamlet Hence Henry honour human imagination imitation intrigue invention Jonson Julius Cæsar King labours language less Lope de Vega lover Macbeth manner means merely mind Molière moral nation nature never noble observations opinion Othello passion peculiar picture pieces Plautus players plays plot poet poetical poetry possessed Prince produced prose racters respect rhyme romantic Romeo and Juliet scenes Shak Shakspeare Shakspeare's Spanish Spanish poetry speare species spectators spirit stage talent taste theatre theatrical thing tion Titus Andronicus tone tragedy tragical true truth verse versification Voltaire whole wished wonderful writers
人気のある引用
186 ページ - Yet nature is made better by no mean, But nature makes that mean : so, o'er that art Which you say adds to nature, is an art That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock, And make conceive a bark of baser kind By bud of nobler race : this is an art ~\\ hich does mend nature, — change it rather ; but The art itself is nature.
205 ページ - Tis two or three, my lord, that bring you word, Macduff is fled to England. Macb. Fled to England ? Len. Ay, my good lord. Macb. Time, thou anticipat'st my dread exploits : The flighty purpose never is o'ertook, Unless the deed go with it : from this moment, The very firstlings of my heart shall be The firstlings of my hand.
236 ページ - Piece out our imperfections with your thoughts ; Into a thousand parts divide one man, And make imaginary puissance ; Think, when we talk of horses, that you see them Printing their proud hoofs i...
110 ページ - One that was a woman, sir; but, rest her soul, she 's dead. Ham. How absolute the knave is ! we must speak by the card, or equivocation will undo us. By the Lord, Horatio, these three years I have taken note of it ; the age is grown so picked that the toe of the peasant comes so near the heel of the courtier, he galls his kibe.— How long hast thou been a grave-maker? 1 Clo. Of all the days i' the year, I came to't that day that our last King Hamlet o'ercame Fortinbras.
307 ページ - Angelo and those of the last half of the seventeenth and the first half of the eighteenth century.
276 ページ - And thus still doing, thus he pass'd along. Duch. Alas, poor Richard ! where rides he the whilst? York. As in a theatre, the eyes of men, After a well-grac'd actor leaves the stage, Are idly bent on him that enters next, Thinking his prattle to be tedious : Even so, or with much more contempt, men's eyes Did scowl on Richard ; no man cried, God save him...
113 ページ - O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand...
190 ページ - Whatever is most intoxicating in the odour of a southern spring, languishing in the song of the nightingale, or voluptuous in the first opening of the rose, is to be found in this poem.
139 ページ - Shakspeare makes each of his principal characters the glass in which the others are reflected, and by like means enables us to discover what could not be immediately revealed to us.
170 ページ - It is deserving of remark, that Shakspeare, amidst the rancour of religious parties, takes a delight in painting the condition of a monk, and always represents his influence as beneficial. We find in him none of the black and knavish monks, which an enthusiasm for Protestantism, rather than poetical inspiration, has suggested to some of our modern poets.