Shakespeare's Dramatic Art: History and Character of Shakespeare's Plays, 2. köideG. Bell and sons, 1895 |
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Page 12
... the composition — the style and the tone , the spirit and the character of the piece in general , and in 12 BOOK V SHAKSPEARE'S COMEDIES . CHAPTER II AS YOU LIKE IT THE COMEDY OF ERRORS A WINTER'S TALE CHAPTER III PAGE.
... the composition — the style and the tone , the spirit and the character of the piece in general , and in 12 BOOK V SHAKSPEARE'S COMEDIES . CHAPTER II AS YOU LIKE IT THE COMEDY OF ERRORS A WINTER'S TALE CHAPTER III PAGE.
Page 17
... spirit of the whole , but nevertheless entirely without motives . This , at the same time , unravels the other com- plications into which the play of accident and caprice and their own ' as we like it , ' have involved the dramatic ...
... spirit of the whole , but nevertheless entirely without motives . This , at the same time , unravels the other com- plications into which the play of accident and caprice and their own ' as we like it , ' have involved the dramatic ...
Page 23
... spirit of the play . All the various parts form one perfect harmony , round which play the most graceful melodies ; all is so delicate and ingenious , so free , so fresh and gay , so full of bantering humour and genial exuberance of spirits ...
... spirit of the play . All the various parts form one perfect harmony , round which play the most graceful melodies ; all is so delicate and ingenious , so free , so fresh and gay , so full of bantering humour and genial exuberance of spirits ...
Page 35
... spirit in which Shakspeare intended it to be understood , and in accordance with which he gave it the name of ' The Winter's Tale , ' then it will be found that here , also , the different characters are not only sharply shaded off one ...
... spirit in which Shakspeare intended it to be understood , and in accordance with which he gave it the name of ' The Winter's Tale , ' then it will be found that here , also , the different characters are not only sharply shaded off one ...
Page 61
... spirit of the creative forces of nature and history which are subservient to the great historical minds , to the geniuses of humanity , in order that by their help they may be the means of paving the way for the progress of life and ...
... spirit of the creative forces of nature and history which are subservient to the great historical minds , to the geniuses of humanity , in order that by their help they may be the means of paving the way for the progress of life and ...
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Common terms and phrases
according accordingly action æsthetic ancient appeared Ben Jonson character circumstances comedy comic composition connection contrast Coriolanus death Delius diction doubtful plays Duke Dyce edition Edward III endeavoured English critics ethical external fact Falstaff favour feeling folio French genuine German Gervinus give hand hence Henry Henry IV Henry VI historical drama idea inasmuch internal Julius Cæsar King John Knight language Lastly latter less Locrine Malone manner Marlowe's merely Midsummer Night's Dream mind moral motives nature noble opinion outward passages passion Pericles personages piece poet poet's poetical poetry political possess Prince printed proved quarto Queen reality regards reign representation represented Richard Richard III scene Shak Shakspeare Shakspeare's plays Shakspearian significance speare's spirit stage Steevens style theatre Tieck Timon of Athens tion Titus Andronicus tragic Translated True Tragedie truth unity versification vols whole wholly written
Popular passages
Page 62 - twixt the green sea and the azur'd vault Set roaring war; to the dread rattling thunder Have I given fire and rifted Jove's stout oak With his own bolt...
Page 423 - All the images of nature were still present to him, and he drew them not laboriously, but luckily: when he describes anything, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned ; he needed not the spectacles of books to read nature; he looked inwards, and found her there.
Page 62 - Ye elves of hills, brooks, standing lakes, and groves ; And ye that on the sands with printless foot Do chase the ebbing Neptune, and do fly him, When he comes back ; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites ; and you, whose pastime Is to make midnight mushrooms ; that rejoice To hear the solemn curfew...
Page 125 - I hold the world but as the world, Gratiano ; A stage, where every man must play a part, And mine a sad one.
Page 334 - I am as sorry as if the original fault had been my fault, because myself have seen his demeanour no less civil than he excellent in the quality he professes: besides, divers of worship have reported his uprightness of dealing which argues his honesty, and his facetious grace in writing, that approves his art.
Page 420 - What needs my Shakespeare for his honoured bones, The labour of an age in piled stones ? Or that his hallowed relics should be hid Under a star-ypointing pyramid ? Dear son of memory, great heir of fame, What need'st thou such weak witness of thy name ? Thou in our wonder and astonishment Hast built thyself a livelong monument.
Page 435 - He sacrifices virtue to convenience, and is so much more careful to please than to instruct, that he seems to write without any moral purpose.
Page 158 - Could great men thunder As Jove himself does, Jove would ne'er be quiet; For every pelting, petty officer Would use his heaven for thunder ; Nothing but thunder. Merciful Heaven ! Thou rather with thy sharp and sulphurous bolt Split'st the unwedgeable and gnarled oak, Than the soft myrtle...
Page 21 - STRABO'S Geography. Translated by W. Falconer, MA, and HC Hamilton. 3 vols. 5^. each. STRICKLAND'S (Agnes) Lives of the Queens of England, from the Norman Conquest. Revised Edition. With 6 Portraits. 6 vols. 5*. each. Life of Mary Queen of Soots. 2 vols. 5*. each. Lives of the Tudor and Stuart Princesses. With Portraits. 5*.
Page 435 - It may be observed, that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and in view of his reward, he shortened the labour to snatch the profit. He, therefore, remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.