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Shakespeare's Dramatic Art: And His Relation to Calderon and Goethe
Недоступно для просмотра - 2015
according accordingly action already ancient appeared beauty become Ben Jonson caprice character circumstances colouring comedy comic composition connection contrast Coriolanus death Delius diction Duke edition Eichard endeavoured exhibited 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 inasmuch intrigue King John Lastly latter Malone manner Marlowe's Measure for Measure merely merry Midsummer Night's Dream mind moral motives nature nevertheless noble outward passages passion Pericles personages piece poet poet's poetical poetry Portrait possess Prince printed Prospero's proved quarto Queen reality regards representation represented 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 Winter's Tale written
Стр. 425 - 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.
Стр. 336 - 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.
Стр. 125 - I hold the world but as the world, Gratiano ; A stage, where every man must play a part, And mine a sad one.
Стр. 422 - 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.
Стр. 157 - 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.
Стр. 437 - 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.
Стр. 437 - 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.
Стр. 438 - 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.
Стр. 158 - 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.