English Shakesperian Criticism in the Eighteenth CenturyH.W. Wilson Company, 1932 - 300 من الصفحات |
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الصفحة 57
... ability , and even genius , in lyrical poetry , is no guarantee of ability in dramatic composition , and when we find the slightest tendency to judge a play , not as a piece to be read in the library , but as a work to be performed in a ...
... ability , and even genius , in lyrical poetry , is no guarantee of ability in dramatic composition , and when we find the slightest tendency to judge a play , not as a piece to be read in the library , but as a work to be performed in a ...
الصفحة 108
... ability to unfold even the most obscure and refined emotions . It is this ability which makes Shakespeare surpass all other writers in the comic as well as tragic vein . " From a consideration of language as a social medium between man ...
... ability to unfold even the most obscure and refined emotions . It is this ability which makes Shakespeare surpass all other writers in the comic as well as tragic vein . " From a consideration of language as a social medium between man ...
الصفحة 277
... Ability to describe an event with the fullness and accuracy of an eye - witness ( Speech of Marullus to the Commoners ) , Ability to portray character by a single stroke ( Gratiano's defence of high spirits , Bassanio's confidential ...
... Ability to describe an event with the fullness and accuracy of an eye - witness ( Speech of Marullus to the Commoners ) , Ability to portray character by a single stroke ( Gratiano's defence of high spirits , Bassanio's confidential ...
المحتوى
John Dennis 16571734 | 5 |
Nicholas Rowe 16741718 | 13 |
Charles Gildon 16651724 | 23 |
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ability accept action Addison admiration appears apply appreciation attempt attention beauties believe called characters classical clear comedy compared concerned considered Corneille criticism defects defence Dennis discussion dramatic dramatist edition Eighteenth Century elements English equal Essay example excellence explanation expression fact Falstaff faults feeling genius give Hamlet Henry historical human illustrate imagination importance indicates interest John Johnson judgment Kames King knowledge lack later Lear learning less lines Macbeth manner means merits method mind moral nature never objection observations original passage passion period person play plot poet poetry Pope practice praise Preface principle qualities question reason reference regarded remarks Richard Richardson romantic Rowe rules scene sentiments Shake Shakespeare Shakesperian shows soliloquy speare Spectator speech spirit stage statement suggest superior taste thought tion tragedy true Unities Warton writers Young