The Complete Works of Samuel Taylor Coleridge: Notes and lectures upon Shakspeare, and some of the old poets and dramatists, with other literary remains of S.T. ColeridgeHarper & Brothers, Franklin Square, 1884 |
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Seite 26
... interest and permanence to the class should be individualized . The old tra- gedy moved in an ideal world , -the old comedy in a fantastic world . As the entertainment , or new comedy , restrained the creative activity both of the fancy ...
... interest and permanence to the class should be individualized . The old tra- gedy moved in an ideal world , -the old comedy in a fantastic world . As the entertainment , or new comedy , restrained the creative activity both of the fancy ...
Seite 31
... interest compelled them not to leave the people wholly ig norant of the great events of sacred history . They did that , therefore , by scenic representations , which in after - ages it has been attempted to do in Roman Catholic ...
... interest compelled them not to leave the people wholly ig norant of the great events of sacred history . They did that , therefore , by scenic representations , which in after - ages it has been attempted to do in Roman Catholic ...
Seite 41
... interest of our intellectual and moral being , till it leads us to a feeling and an object more awful than it seeins to me corpatible with even the present subject to utter aloud ; though I am most desirous to suggest it . For there ...
... interest of our intellectual and moral being , till it leads us to a feeling and an object more awful than it seeins to me corpatible with even the present subject to utter aloud ; though I am most desirous to suggest it . For there ...
Seite 62
... interest on the plot . The interest in the plot is always in fact on account of the characters , not vice versa , as in almost all other writers ; the plot is a mere canvass and no more . Hence arises the true justification of the same ...
... interest on the plot . The interest in the plot is always in fact on account of the characters , not vice versa , as in almost all other writers ; the plot is a mere canvass and no more . Hence arises the true justification of the same ...
Seite 63
... interest on the story as the ground- work of the plot . Hence Shakspeare never took the trouble of inventing stories . It was enough for him to select from those that had been already invented or recorded such as had one or other , or ...
... interest on the story as the ground- work of the plot . Hence Shakspeare never took the trouble of inventing stories . It was enough for him to select from those that had been already invented or recorded such as had one or other , or ...
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Häufige Begriffe und Wortgruppen
admirable appear Beaumont and Fletcher beauty Ben Jonson cause character Coleridge comedy common Don Quixote drama especially excellent excite express exquisite fancy feeling former genius give Greek Hamlet hath Hence human humor Iago idea images imagination imitation individual instance intellect interest Jonson judgment king language latter Lear Lecture Love's Labor's Lost Macbeth means metre Milton mind moral nature never object observe original Othello pantheism Paradise Lost passage passion perhaps persons philosophic Plato play pleasure poem poet poetic poetry Polonius present principle produced reader reason religion Richard III Roman Romeo Romeo and Juliet S. T. COLERIDGE scene Schlegel sense Shak Shakspeare Shakspeare's Shaksperian soul speech spirit style supposed taste Theobald thing thou thought tion Titus Andronicus tragedy true truth understanding unity verse Warburton whole words writers
Beliebte Passagen
Seite 170 - Be innocent of the knowledge , dearest chuck , Till thou applaud the deed. — Come, seeling night, Scarf up the tender eye of pitiful day; And with thy bloody and invisible hand Cancel and tear to pieces that great bond Which keeps me pale!
Seite 55 - Nature, the prime genial artist, inexhaustible in diverse powers, is equally inexhaustible in forms; each exterior is the physiognomy of the being within, — its true image, reflected and thrown out from the concave mirror...
Seite 55 - 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.
Seite 81 - Subtle as sphinx ; as sweet, and musical, As bright Apollo's lute, strung with his hair ; And, when love speaks, the voice of all the gods Makes heaven drowsy with the harmony.
Seite 158 - Tis now the very witching time of night; When churchyards yawn, and hell itself breathes out Contagion to this world: Now could I drink hot blood, And do such business as the bitter day Would quake to look on.
Seite 324 - God ; and for the same cause art itself might be defined as of a middle quality between a thought and a thing, or as I said before, the union and reconciliation of that which is nature with that which is exclusively human.
Seite 114 - How oft when men are at the point of death Have they been merry! which their keepers call A lightning before death: O, how may I Call this a lightning!
Seite 143 - Hence we see a great, an almost enormous intellectual activity, and a proportionate aversion to real action, consequent upon it, with all its symptoms and accompanying qualities. This character, Shakespeare places in circumstances under which it is obliged to act on the spur of the moment : Hamlet is brave and careless of death; but he vacillates from sensibility, and procrastinates from thought, and loses the power of action in the energy of resolve.
Seite 160 - There's such divinity doth hedge a king, That treason can but peep to what it would, Acts little of his will.
Seite 74 - It addresses itself entirely to the imaginative faculty ; and although the illusion may be assisted by the effect on the senses of the complicated scenery and decorations of modern times, yet this sort of assistance is dangerous. For the principal and only genuine excitement ought to come from within, — from the moved and sympathetic imagination...