English Shakesperian Criticism in the Eighteenth CenturyH.W. Wilson Company, 1932 - 300 من الصفحات |
من داخل الكتاب
النتائج 1-3 من 55
الصفحة 17
... later , Rowe is no less enthusiastic , although he accepts the conventional view with regard to Falstaff's cowardice : Falstaff is allow'd by every - body to be a master - piece ; the character is always well - sustain'd , tho ' drawn ...
... later , Rowe is no less enthusiastic , although he accepts the conventional view with regard to Falstaff's cowardice : Falstaff is allow'd by every - body to be a master - piece ; the character is always well - sustain'd , tho ' drawn ...
الصفحة 46
... later : by the play of conflicting passions ; by his nervous move- ments ; by his doubts ; by his alternate confidence and mistrust ; by his threatening Iago , and , later , by his asking his pardon , all these elicit the highest praise ...
... later : by the play of conflicting passions ; by his nervous move- ments ; by his doubts ; by his alternate confidence and mistrust ; by his threatening Iago , and , later , by his asking his pardon , all these elicit the highest praise ...
الصفحة 75
... later criticism has not been able to out - do in warmth : it is impossible to be tir'd or dull with the gay , unfading , Ever - green Falstaff . Morris does not break new ground in his remarks on Jonson and Shakespeare , but if sincere ...
... later criticism has not been able to out - do in warmth : it is impossible to be tir'd or dull with the gay , unfading , Ever - green Falstaff . Morris does not break new ground in his remarks on Jonson and Shakespeare , but if sincere ...
المحتوى
John Dennis 16571734 | 5 |
Nicholas Rowe 16741718 | 13 |
Charles Gildon 16651724 | 23 |
حقوق النشر | |
9 من الأقسام الأخرى غير ظاهرة
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
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