Shakspeare's Dramatic Art: And His Relation to Calderon and Goethe, 2. köideChapman, brothers, 1876 - 554 pages |
From inside the book
Results 1-5 of 44
Page 19
... principles of human existence . While therefore the other lovers are in pursuit of their high ideals of beauty , amiability and virtue , and yet do not in reality attain anything beyond the common human standard , he takes to himself ...
... principles of human existence . While therefore the other lovers are in pursuit of their high ideals of beauty , amiability and virtue , and yet do not in reality attain anything beyond the common human standard , he takes to himself ...
Page 28
... principles of life , here it is error , the unreasonableness and inconsistency of thinking and recognition . The caprice of action is , however , the correlative , the obverse of the error of recognition ; both , in fact , exist only in ...
... principles of life , here it is error , the unreasonableness and inconsistency of thinking and recognition . The caprice of action is , however , the correlative , the obverse of the error of recognition ; both , in fact , exist only in ...
Page 32
... principle of the tale or fairy tale , and , in order that the principle , as such , may also be clearly and distinctly brought forward , it presents itself in strange , arbitrary and fantastic shapes , in outward forms opposed to common ...
... principle of the tale or fairy tale , and , in order that the principle , as such , may also be clearly and distinctly brought forward , it presents itself in strange , arbitrary and fantastic shapes , in outward forms opposed to common ...
Page 93
... principle of his groupings , is here specially prominent in the characters of Proteus and Valentine , Julia and Silvia , Speed and Launce . But the very sharpness of these contrasts , and the carefully worked out parallels between the ...
... principle of his groupings , is here specially prominent in the characters of Proteus and Valentine , Julia and Silvia , Speed and Launce . But the very sharpness of these contrasts , and the carefully worked out parallels between the ...
Page 122
... principles , a flagrant wrong . And yet , who would condemn her for withdrawing herself from the power and the rights of such a father , of whom she is justly ashamed , and to obey whom truly is a matter of impossibility to her ...
... principles , a flagrant wrong . And yet , who would condemn her for withdrawing herself from the power and the rights of such a father , of whom she is justly ashamed , and to obey whom truly is a matter of impossibility to her ...
Contents
1 | |
12 | |
86 | |
115 | |
129 | |
152 | |
188 | |
195 | |
309 | |
328 | |
346 | |
366 | |
375 | |
389 | |
401 | |
412 | |
201 | |
209 | |
232 | |
250 | |
260 | |
275 | |
429 | |
446 | |
459 | |
470 | |
497 | |
Common terms and phrases
according accordingly action æsthetic appeared beauty Ben Jonson caprice character circumstances colouring comedy comic composition connection contrast Coriolanus critics Cymbeline death Delius diction Duke edition endeavoured English external fact Falstaff fantastic favour feeling French Gentlemen of Verona German Gervinus give hand hence Henry Henry IV Henry VI historical drama human humour idea intrigue Julius Cæsar King John Lastly latter Malone manner Marlowe's Measure for Measure merely Merry Midsummer Night's Dream mind moral motives nature noble outward passages passion Pericles personages piece poet poet's poetical poetry Portrait possess Prince Prospero's proved quarto Queen reality regards representation represented Richard Richard III RSITY scene Shak Shakspeare Shakspeare's plays Shakspearian significance speare's spirit stage Steevens style Tempest theatre Tieck Timon of Athens tion Titus Andronicus tragic Translated True Tragedie truth unity UNIV vols whole wholly written
Popular passages
Page 415 - 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 326 - 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 117 - I hold the world but as the world, Gratiano ; A stage, where every man must play a part, And mine a sad one.
Page 412 - 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 149 - Alas ! alas ! Why, all the souls that were, were forfeit once; And He that might the vantage best have took, Found out the remedy: How would you be, If he, which is the top of judgment, should But judge you as you are? O, think on that; And mercy then will breathe within your lips, Like man new made.
Page 427 - 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 427 - It is from this wide extension of design that so much instruction is derived. It is this which fills the plays of Shakespeare with practical axioms and domestic wisdom. It was said of Euripides that every verse was a precept; and it may be said of Shakespeare that from his works may be collected a system of civil and economical prudence.
Page 428 - His histories, being neither tragedies nor comedies, are not subject to any of their laws; nothing more is necessary to all the praise which they expect than that the changes of action be so prepared as to be understood, that the incidents be various and affecting, and the characters consistent, natural, and distinct. No other unity is intended, and therefore none is to be sought.
Page 150 - Merciful Heaven ! Thou rather with thy sharp and sulphurous bolt Split'st the unwedgeable and gnarled oak Than the soft myrtle. 0 but man, proud man ! Drest in a little brief authority, Most ignorant of what he's most assured, His glassy essence, like an angry ape, Plays such fantastic tricks before high heaven, As make the angels weep.
Page 150 - 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.