English Shakesperian Criticism in the Eighteenth CenturyH.W. Wilson Company, 1932 - 300 من الصفحات |
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الصفحة 41
... appears again in some of his best critical work - the remarks on Hamlet . He cites Hamlet's soliloquy ( " To be , or not to be " III , i , 56 ) , his scene with his mother , his " noble ardour " after seeing his father's ghost , and his ...
... appears again in some of his best critical work - the remarks on Hamlet . He cites Hamlet's soliloquy ( " To be , or not to be " III , i , 56 ) , his scene with his mother , his " noble ardour " after seeing his father's ghost , and his ...
الصفحة 167
... appears that she attributed to him a topical and contemporary significance . In Mistress Quickly , although recognising her dramatic relation to Falstaff and the diverting nature of her conversation , she felt that Shakespeare had ...
... appears that she attributed to him a topical and contemporary significance . In Mistress Quickly , although recognising her dramatic relation to Falstaff and the diverting nature of her conversation , she felt that Shakespeare had ...
الصفحة 170
... appears to denounce the misfortunes of his family ; while in Shakespeare , the ghost of Hamlet's father comes to reveal secret crimes and to demand vengeance . It is not brought in uselessly and by force ; it gives strength to our ...
... appears to denounce the misfortunes of his family ; while in Shakespeare , the ghost of Hamlet's father comes to reveal secret crimes and to demand vengeance . It is not brought in uselessly and by force ; it gives strength to our ...
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