Shakespeare's Dramatic Art: History and Character of Shakespeare's Plays, 1. köideBell, 1888 |
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Page vii
... sense of the beautiful , and consequently his æsthetical principles , or more correctly the motives which guide him in determining form and construction , are dependent upon his position in history , upon his position in life PREFACE . vii.
... sense of the beautiful , and consequently his æsthetical principles , or more correctly the motives which guide him in determining form and construction , are dependent upon his position in history , upon his position in life PREFACE . vii.
Page ix
... motives and impulses , but animated by one soul - prefer to examine the spots , gaps , and inequalities , faults and blunders of a dramatic composition with a scientific microscrope ( the use of which would make the finest colouring of ...
... motives and impulses , but animated by one soul - prefer to examine the spots , gaps , and inequalities , faults and blunders of a dramatic composition with a scientific microscrope ( the use of which would make the finest colouring of ...
Page xi
... motives of the action , the drawing and the right understanding of the dominant characters in Shakspeare's dramas , and , where necessary , give a detailed and careful analysis of them , still even this consideration is always dependent ...
... motives of the action , the drawing and the right understanding of the dominant characters in Shakspeare's dramas , and , where necessary , give a detailed and careful analysis of them , still even this consideration is always dependent ...
Page 28
... motives of which lie beyond the stage , nay , generally beyond this earthly life ; no action is derived from the life and character of the dramatic personages , or results from pre- vious conditions and relations ; every character ...
... motives of which lie beyond the stage , nay , generally beyond this earthly life ; no action is derived from the life and character of the dramatic personages , or results from pre- vious conditions and relations ; every character ...
Page 73
... motive in the development , which as such was incapable of destroying the popular form of dramatic poetry , and of directing its course of development upon the mistaken road of a slavish imitation . The vital germ of the English drama ...
... motive in the development , which as such was incapable of destroying the popular form of dramatic poetry , and of directing its course of development upon the mistaken road of a slavish imitation . The vital germ of the English drama ...
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Common terms and phrases
according accordingly action actors already ancient appear artistic beauty Ben Jonson blank verse centre character characterisation Collier colouring comedy comic composition connection death diction doubt dramatic art dramatic personages Dyce edition element endeavoured English drama especially expression external fact feeling give Gorboduc Greene's Hamlet hand hence Henry Henry VI hero Heywood human idea ideal intention internal Jonson Julius Cæsar King King Lear language lastly latter Lear London lyric Macbeth manner Marlowe Marlowe's merely mind Miracle Plays moral motives nature noble Othello passion peculiar persons piece play poems poet poetical poetry popular Portrait possess probably racter reality regards relation representation represented Richard III Romeo and Juliet scenes Sejanus Shak Shakspeare Shakspeare's Sonnets soul speare spirit stage Stratford style Tamburlaine tendency theatre thought tion Titus Andronicus tragedy tragic pathos Trans true unity vols whole words written