Shakespeare as a Dramatic Artist: A Popular Illustration of the Principles of Scientific CriticismClarendon Press, 1893 - 443 ページ |
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... Passion and Movement . The Studies of Love's Labour's Lost and As You Like It ( Nos . XIV , XV ) are placed after those on The Tempest , and carry further the topics of Central Ideas and Dramatic Colouring . The new matter is the sub ...
... Passion and Movement . The Studies of Love's Labour's Lost and As You Like It ( Nos . XIV , XV ) are placed after those on The Tempest , and carry further the topics of Central Ideas and Dramatic Colouring . The new matter is the sub ...
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... Passion and the latter with Plot . Further experience has led me to think that it is more accurate as it is certainly simpler - to treat the whole of Movement as a division of Plot , leaving Passion - Movement to be represented by ...
... Passion and the latter with Plot . Further experience has led me to think that it is more accurate as it is certainly simpler - to treat the whole of Movement as a division of Plot , leaving Passion - Movement to be represented by ...
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... Passion and Movement X. HOW CLIMAX MEETS CLIMAX IN THE CENTRE OF ' LEAR . ' bles Passion and Movement PAGE 90 107 125 144 168 185 202 XI . ' OTHELLO ' AS A PICTURE OF JEALOUSY CONTENTS .
... Passion and Movement X. HOW CLIMAX MEETS CLIMAX IN THE CENTRE OF ' LEAR . ' bles Passion and Movement PAGE 90 107 125 144 168 185 202 XI . ' OTHELLO ' AS A PICTURE OF JEALOUSY CONTENTS .
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... Colouring 264 284 300 PART SECOND . SURVEY OF DRAMATIC CRITICISM AS AN INDUCTIVE SCIENCE . XVI . TOPICS OF DRAMATIC CRITICISM • XVII . INTEREST OF CHARACTER 317 330 xiv XVIII . PAGE INTEREST OF PASSION 338 XIX . CONTENTS . xiii.
... Colouring 264 284 300 PART SECOND . SURVEY OF DRAMATIC CRITICISM AS AN INDUCTIVE SCIENCE . XVI . TOPICS OF DRAMATIC CRITICISM • XVII . INTEREST OF CHARACTER 317 330 xiv XVIII . PAGE INTEREST OF PASSION 338 XIX . CONTENTS . xiii.
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... passion could move him when magni- fied with all the range of expression an orchestra affords , and he would acknowledge a dramatic touch as the diabolic spirit of the conspirator found vent in a double D. The illustration is extreme to ...
... passion could move him when magni- fied with all the range of expression an orchestra affords , and he would acknowledge a dramatic touch as the diabolic spirit of the conspirator found vent in a double D. The illustration is extreme to ...
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多く使われている語句
analysis Antonio appears Ariel Armado artistic Banquo Bassanio becomes blank verse Brutus Brutus's Caliban Caskets Story Cassio central idea centre CHAP character climax complete conception crime Desdemona Destiny distinct dramatic dramatist effect elements emotional enchantment Enveloping Action euphuism evil fall fate feels fool force give Goneril Holofernes human humour Iago incidents inductive criticism interest intrigue Irony Jaques Jessica Julius Cæsar justice king Lady Macbeth Lear literary literature Love's Labour's Lost Macduff madness Main Action main plot ment Merchant of Venice mind modern moral morbid humour Motion Motive movement murder nature Nemesis oracle Oracular Othello passion personages play Portia present Professional humour Prospero recognised retribution Richard Richard III rise Rosalind scene sense Shakespeare Shylock side spirit stage Sub-Action suggests supernatural sympathy Tempest thee things thou thought tion tone tragedy train treatment turning-point Underplot unity Venice verse villainy whole words
人気のある引用
305 ページ - I have neither the scholar's melancholy, which is emulation ; nor the musician's which is fantastical ; nor the courtier's, which is proud ; nor the soldier's, which is ambitious ; nor the lawyer's, which is politic ; nor the lady's, which is nice ; nor the lover's, which is all these...
176 ページ - tis a common proof, That lowliness is young ambition's ladder, Whereto the climber-upward turns his face; But when he once attains the upmost round, He then unto the ladder turns his back, Looks in the clouds, scorning the base degrees By which he did ascend: so Caesar may; Then, lest he may, prevent.
214 ページ - No, you unnatural hags, I will have such revenges on you both, That all the world shall — I will do such things, — What they are, yet I know not ; but they shall be The terrors of the earth.
241 ページ - To be suspected; framed to make women false. The Moor is of a free and open nature, That thinks men honest, that but seem to be so; And will as tenderly be led by the nose, As asses are. I have't; — it is engendered. — Hell and night Must bring this monstrous birth to the world's light.
175 ページ - As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him : but, as he was ambitious, I slew him.
60 ページ - Nay, take my life and all ; pardon not that : You take my house, when you do take the prop That doth sustain my house ; you take my life, When you do take the means whereby I live.
278 ページ - O, it is monstrous ! monstrous ! Methought the billows spoke, and told me of it ; The winds did sing it to me ; and the thunder, That deep and dreadful organ-pipe, pronounced The name of Prosper ; it did bass my trespass. Therefore my son i' the ooze is bedded ; and I'll seek him deeper than e'er plummet sounded, And with him there lie mudded.
232 ページ - He hath a daily beauty in his life, That makes me ugly ; and, besides, the Moor May unfold me to him ; there stand I in much peril : No, he must die : — But so, I hear him coming.
163 ページ - Infirm of purpose! Give me the daggers: the sleeping and the dead Are but as pictures: 'tis the eye of childhood That fears a painted devil. If he do bleed, I'll gild the faces of the grooms withal, For it must seem their guilt.
251 ページ - em. Cal. I must eat my dinner. This island's mine, by Sycorax my mother, Which thou tak'st from me. When thou earnest first, Thou strok'dst me, and mad'st much of me ; wouldst give me Water with berries in't ; and teach me how To name the bigger light, and how the less, That burn by day and night : and then I lov'd thee, And show'd thee all the qualities o...