Dryden's Heroic PlaysMacmillan, 1981 - 195 من الصفحات |
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الصفحة
... beginning of Act IV Montezuma and Orazia are each protected by the villainous lover from the villainous rival , and each is asked to repay protection with love ( IV . i . 30-122 ) . Dryden here imitates the plight of Oroondates and ...
... beginning of Act IV Montezuma and Orazia are each protected by the villainous lover from the villainous rival , and each is asked to repay protection with love ( IV . i . 30-122 ) . Dryden here imitates the plight of Oroondates and ...
الصفحة 42
... beginning of the play , individualistic heroism had seemed a quest for man's lost home of Eden ; now it is represented as exile in a barrer desert , unclaimed and unmarked by man . In tracing the movement from fruition to unfruition ...
... beginning of the play , individualistic heroism had seemed a quest for man's lost home of Eden ; now it is represented as exile in a barrer desert , unclaimed and unmarked by man . In tracing the movement from fruition to unfruition ...
الصفحة 188
... beginning " Ah Traitress ! " ( ll . 489–500 ) is similar in sentiment to Alceste's speech beginning “ Ah ! traitresse " ( ll . 1415—20 ) , since both deal with the helplessness of the rational man before female beauty . And , like ...
... beginning " Ah Traitress ! " ( ll . 489–500 ) is similar in sentiment to Alceste's speech beginning “ Ah ! traitresse " ( ll . 1415—20 ) , since both deal with the helplessness of the rational man before female beauty . And , like ...
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عبارات ومصطلحات مألوفة
Abdalla Acacis Achilles action Almahide Almahide's Almanzor appear asserts Assyria attempt Aureng-Zebe becomes beginning believe Berenice Boabdelin brings career Catharine Catharine's cause characters Christian claims concern Conquest continues contrast Cortez course creates criticism Cyrus death desire destroy divine dream Dryden echoes Emperor evidence example face fact fails falls fear final flaws follow force further give Granada Heav'n hero heroic plays honour human ideal identity illusion imagery immediately Indamora Indian interest King later less live London lover Lyndaraxa magnanimity Maximin merely mind mistress Montezuma moral Morat move nature never Nevertheless offers once Orazia parallel passion perfect Platonic Porphyrius portraying prisoners provides Queen reality reason refuses reveals rival role romance scene seek seems sense sexual similarly soon Soul speech spirit sustained tragedy triumph true turn villains virtue whereas