Characters of Shakespeare's PlaysUniversity Press, 1908 - 280 sidor |
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Sida 4
... strike twice on the same place . An ancient rhetorician delivered a caution against dwelling too long on the excitation of pity ; for nothing , he said , dries so soon as tears ; and Shakespear acted conformably to this ingenious maxim ...
... strike twice on the same place . An ancient rhetorician delivered a caution against dwelling too long on the excitation of pity ; for nothing , he said , dries so soon as tears ; and Shakespear acted conformably to this ingenious maxim ...
Sida 7
... striking differences — their classes , not their degrees . He was a man of strong common sense and practical wisdom , rather than of genius or feeling . He retained the regular , habitual impressions of actual objects , but he could not ...
... striking differences — their classes , not their degrees . He was a man of strong common sense and practical wisdom , rather than of genius or feeling . He retained the regular , habitual impressions of actual objects , but he could not ...
Sida 11
... striking parts of the story are thrown into the form of a dialogue , and the intermediate circumstances are explained by the different speakers , as occasion renders it necessary . The action is less concentrated in consequence ; but ...
... striking parts of the story are thrown into the form of a dialogue , and the intermediate circumstances are explained by the different speakers , as occasion renders it necessary . The action is less concentrated in consequence ; but ...
Sida 12
... striking means . The pathos in CYMBELINE is not violent or tragical , but of the most pleasing and amiable kind . A certain tender gloom overspreads the whole . Posthumus is the ostensible hero of the piece , but its greatest charm is ...
... striking means . The pathos in CYMBELINE is not violent or tragical , but of the most pleasing and amiable kind . A certain tender gloom overspreads the whole . Posthumus is the ostensible hero of the piece , but its greatest charm is ...
Sida 17
... striking and powerful contrasts in which Shakespear abounds could not escape observation ; but the use he makes of the principle of analogy to reconcile the greatest diversities of character and to maintain a continuity of feeling ...
... striking and powerful contrasts in which Shakespear abounds could not escape observation ; but the use he makes of the principle of analogy to reconcile the greatest diversities of character and to maintain a continuity of feeling ...
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Characters of Shakespeare's Plays: & Lectures on the English Poets William Hazlitt Ingen förhandsgranskning - 2015 |
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actor admirable affections Antony Apemantus banished beauty blood Boccacio breath Brutus Cæsar Caliban character Claudio comedy comic Cordelia Coriolanus critic CYMBELINE death Decameron Desdemona dost doth Dr Johnson dramatic eyes Falstaff fancy fear feeling fool friends genius give Goneril grace Hamlet hast hath Hazlitt hear heart heaven Henry honour Hubert human humour Iago imagination Juliet JULIUS CÆSAR king lady Lear live look lord lover Macbeth Malvolio manner MIDSUMMER NIGHT'S DREAM mind moral Mucedorus nature never night noble note referring Othello passages passion Perdita person pity play pleasure poet poetry prince Regan revenge rich Richard Richard III Romeo ROMEO AND JULIET scene Schlegel sense Shake Shakespear shew shewn Sir Toby sleep soul speak speech spirit stage story striking sweet tender thee thing thou art thought tion Titus Andronicus tragedy truth wife words Yorkshire Tragedy youth