Characters of Shakespeare's PlaysTempleman, 1848 - 345 strán (strany) |
Vyhľadávanie v obsahu knihy
Výsledky 1 - 5 z 41.
Strana xiv
... strike twice on the same place . An ancient rhetorician delivered a caution against dwelling too long on the excitation of pity ; for nothing , he said , dried so soon as tears ; and Shakspeare acted conformably to this ingenious maxim ...
... strike twice on the same place . An ancient rhetorician delivered a caution against dwelling too long on the excitation of pity ; for nothing , he said , dried so soon as tears ; and Shakspeare acted conformably to this ingenious maxim ...
Strana xx
... striking differ- ences ; their classes , not their degrees . He was a man of strong common sense and practical wisdom , rather than of genius and feeling . He retained the regular , habitual impressions of actual objects , but he could ...
... striking differ- ences ; their classes , not their degrees . He was a man of strong common sense and practical wisdom , rather than of genius and feeling . He retained the regular , habitual impressions of actual objects , but he could ...
Strana 1
... striking parts of a story are thrown into the form of a dialogue , and the intermediate circumstances are explained by the different speakers , as occasion renders it necessary . The action is less concentrated in consequence ; but the ...
... striking parts of a story are thrown into the form of a dialogue , and the intermediate circumstances are explained by the different speakers , as occasion renders it necessary . The action is less concentrated in consequence ; but the ...
Strana 2
... striking means . The pathos in CYMBELINE is not violent or tragical , but of the most pleasing and amiable kind . A certain tender gloom overspreads the whole . Posthumus is the ostensible hero of the piece , but 2 CYMBELINE .
... striking means . The pathos in CYMBELINE is not violent or tragical , but of the most pleasing and amiable kind . A certain tender gloom overspreads the whole . Posthumus is the ostensible hero of the piece , but 2 CYMBELINE .
Strana 9
... striking and powerful contrasts in which Shakspeare abounds could not escape observation ; but the use he makes of the prin- ciple of analogy to reconcile the greatest diversities of character and to maintain a continuity of feeling ...
... striking and powerful contrasts in which Shakspeare abounds could not escape observation ; but the use he makes of the prin- ciple of analogy to reconcile the greatest diversities of character and to maintain a continuity of feeling ...
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admirable affections answer Antony Apemantus appear banished Banquo beauty Ben Jonson blood Bolingbroke breath Brutus Cæsar Caliban Cassius character circumstances Claudio comedy comic Cordelia Coriolanus CYMBELINE daughter death Desdemona Dost thou doth Dr Johnson dramatic eyes Falstaff fancy father fear feeling fool fortune friends genius give grace grave Hamlet hath hear heart heaven Henry honour human humour Iago imagination Juliet king lady Lear live look lord lover Macbeth Malvolio manner Mark Antony MIDSUMMER NIGHT'S DREAM mind moral nature never night noble Othello passages passion Perdita person pity play pleasure poet poetry prince racter refined Regan revenge Richard Richard III Romeo ROMEO AND JULIET scene sense Shak Shakspeare Shakspeare's Sir Toby sleep soul speak speare speech spirit story striking sweet tender thee things thou art thought tion Titus Andronicus tragedy true truth wife youth