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action actors admiration afterwards amusement appear Banquo beautiful become behold Ben Jonson Blackfriars Theatre brilliant Brutus Caesar Cassio character chronicle circumstances comedy comic Cordelia crime death Desdemona desire destiny drama dramatic poetry Duncan effect emotions England entirely equally existence fact Falstaff father favour feelings forms genius give grief habits Hamlet hand Henry Henry IV Holinshed honour human Iago idea illusion imagination imitation impression inspired interest Julius Caesar King King Lear labour Lear liberty literature Lord Luigi da Porto Macbeth manner mind misfortune Moor moral narrative nature necessity never occupied once original Othello passion perhaps personages Petrarch piece play pleasures poet position possession present prince produced reason received regard reign rendered Richard Richard III Romeo and Juliet scene Shakspeare Shakspeare's sonnets soul spectator stage Stratford style taste theatre things thought tragedy tragic true truth unity Voltaire wife Zaire
Page 122 - O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand.
Page 331 - O, that the slave had forty thousand lives ! One is too poor, too weak for my revenge. Now do I see 'tis true. Look here, lago ; All my fond love thus do I blow to heaven : 'Tis gone. Arise, black vengeance, from thy hollow cell ! Yield up, O love, thy crown and hearted throne To tyrannous hate ! Swell, bosom, with thy fraught, For 'tis of aspics
Page 49 - Come, my Corinna, come; and, coming, mark How each field turns a street, each street a park Made green and trimm'd with trees: see how Devotion gives each house a bough Or branch: each porch, each door, ere this An ark, a tabernacle is, Made up of white-thorn neatly interwove; As if here were those cooler shades of love.
Page 332 - The spirit-stirring drum, the ear-piercing fife, The royal banner ; and all quality. Pride, pomp, and circumstance of glorious war ! And O, you mortal engines, whose rude throats The immortal Jove's dread clamours counterfeit, Farewell ! Othello's occupation's gone ! lago.
Page 46 - Ceremony doffed his pride. The heir, with roses in his shoes, That night might village partner choose ; The lord, underogating, share The vulgar game of
Page 197 - O my love! my wife! Death, that hath suck'd the honey of thy breath, Hath had no power yet upon thy beauty. Thou art not conquer'd; beauty's ensign yet Is crimson in thy lips and in thy cheeks, And death's pale flag is not advanced there.
Page 341 - Here is my journey's end, here is my butt, And very sea-mark of my utmost sail.
Page 382 - How would it have joyed brave Talbot (the terror of the French) to think that after he had lain two hundred years in his 180 tomb, he should triumph again on the stage, and have his bones new embalmed with the tears of ten thousand spectators at least (at several times), who in the tragedian that represents his person imagine they behold him fresh bleeding.
Page 49 - Above an hour since ; yet you not drest, Nay ! not so much as out of bed ? When all the birds have matins said, And sung their thankful hymns : 'tis sin, Nay, profanation, to keep in, — Whenas a thousand virgins on this day, Spring, sooner than the lark, to fetch in May.