Dryden's Heroic PlaysMacmillan, 1981 - 195 من الصفحات |
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الصفحة 36
... seems at first to cultivate the public man to a fault , aware only of his distaste for the Queen , not of his natural ties with the mother . He repeatedly rejects offers of freedom at the beginning of the play , preferring to observe ...
... seems at first to cultivate the public man to a fault , aware only of his distaste for the Queen , not of his natural ties with the mother . He repeatedly rejects offers of freedom at the beginning of the play , preferring to observe ...
الصفحة 93
... seems at last to have dissociated himself from his alter ego : Abdal . Your benefits revenge my crimes to you : For I my shame in that bright Mirrour , view . Almanz . No more ; you give me thanks you do not ow , I have been faulty ...
... seems at last to have dissociated himself from his alter ego : Abdal . Your benefits revenge my crimes to you : For I my shame in that bright Mirrour , view . Almanz . No more ; you give me thanks you do not ow , I have been faulty ...
الصفحة 181
... seems to me to be particularly vitiated in this respect : repeatedly , he documents Dryden's code of honour from speeches which are rapidly discredited by subsequent dramatic events . CHAPTER 4 1. In the Preface to Tyrannick Love Dryden ...
... seems to me to be particularly vitiated in this respect : repeatedly , he documents Dryden's code of honour from speeches which are rapidly discredited by subsequent dramatic events . CHAPTER 4 1. In the Preface to Tyrannick Love Dryden ...
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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