English Shakesperian Criticism in the Eighteenth CenturyH.W. Wilson Company, 1932 - 300 من الصفحات |
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الصفحة 106
... true of criminal passion , in which the character is planning an evil deed . Truth to nature requires the character ( through the dramatist ) to gloss over the guilty action in such a way as to repre- sent it in a light less ugly than ...
... true of criminal passion , in which the character is planning an evil deed . Truth to nature requires the character ( through the dramatist ) to gloss over the guilty action in such a way as to repre- sent it in a light less ugly than ...
الصفحة 212
... true criterion for measuring the extent of his superiority , which is manifest in ( i ) the astonishing and almost ... true rules of art and with the true nature of art . " ( Shakespeare's Dramatic Art , Eng . trans . by L. Dora Schmitz ...
... true criterion for measuring the extent of his superiority , which is manifest in ( i ) the astonishing and almost ... true rules of art and with the true nature of art . " ( Shakespeare's Dramatic Art , Eng . trans . by L. Dora Schmitz ...
الصفحة 254
Herbert Spencer Robinson. the same is true of Shakespeare's Hector who is repre- sented as quoting Aristotle . In the same carping spirit , Titus Lartius and Menenius Agrippa cannot be accepted as true Romans because they commit ...
Herbert Spencer Robinson. the same is true of Shakespeare's Hector who is repre- sented as quoting Aristotle . In the same carping spirit , Titus Lartius and Menenius Agrippa cannot be accepted as true Romans because they commit ...
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