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action actor admiration appear artist audience beauty called century character Coleridge comedy construction course criticism death dramatic dramatist edition editors effect Elizabethan English entirely evident expression fact feel Folio follows force French genius German ghost give Hamlet historical human idea imagination important impression interest Johnson King language Lear learned least less lines literary literature live Macbeth marked matter means merely method mind moral nature never notes once original Othello passages passion perhaps period person plays poet poetic poetry Pope possible present Professor qualities question reason reference regard represented rules says scene seems sense Shake Shakespeare shows sometimes soul speak spirit stage story suggested taken Theobald things thought tion tragedy true truth unity verse writing written young
Página 29 - Yet must I not give nature all ; thy art, My gentle SHAKESPEARE, must enjoy a part. For though the poet's matter nature be, His art doth give the fashion : and, that he 278 Who casts to write a living line, must sweat, (Such as thine are) and strike the second heat Upon the Muses...
Página 59 - He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul, All the images of Nature were still present to him, and he drew them, not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too.
Página 28 - Euripides, and Sophocles to us, Pacuvius, Accius, him of Cordova, dead, To life again, to hear thy buskin tread And shake a stage ; or, when thy socks were on, Leave thee alone for the comparison Of all that insolent Greece or haughty Rome Sent forth, or since did from their ashes come.
Página 181 - The form is mechanic, when on any given material we impress a predetermined form, not necessarily arising out of the properties of the material; as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form, on the other hand, is innate; it shapes, as it develops, itself from within, and the fullness of its development is one and the same with the perfection of its outward form.
Página 186 - On the stage we see nothing but corporal infirmities and weakness, the impotence of rage ; while we read it, we see not Lear, but we are Lear, — we are in his mind, we are sustained by a grandeur which baffles the "Malice of daughters and .storms.
Página 27 - To draw no envy, SHAKESPEARE, on thy name, Am I thus ample to thy book and fame ; While I confess thy writings to be such, As neither man, nor muse, can praise too much.
Página 59 - I cannot say he is everywhere alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid; his comic wit degenerating into clenches, his serious swelling into bombast. But he is always great when some great occasion is presented to him...
Página 36 - By heaven, methinks it were an easy leap, To pluck bright honour from the pale-faced moon, Or dive into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowned honour by the locks...
Página 118 - Yet the man thus corrupt, thus despicable, makes himself necessary to the prince that despises him, by the most pleasing of all qualities, perpetual gaiety; by an unfailing power of exciting laughter...
The Extra-dramatic Moment in Elizabethan Plays Before 1616 ...
Visualização de trechos - 1930
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Costerus, Volumes 15-18
Visualização de trechos - 1972