Shakespeare, Ben Jonson, Beaumont and Fletcher: Notes and LecturesEdward Howell, 1874 - 318 pagine |
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Shakespeare, Ben Jonson, Beaumont and Fletcher: Notes and Lectures Samuel Taylor Coleridge Visualizzazione completa - 1874 |
Shakespeare, Ben Jonson, Beaumont and Fletcher: Notes and Lectures Samuel Taylor Coleridge Visualizzazione completa - 1874 |
Shakespeare, Ben Jonson, Beaumont and Fletcher: Notes and Lectures Samuel Taylor Coleridge Visualizzazione completa - 1874 |
Parole e frasi comuni
actor admirable appear audience Beaumont and Fletcher beauty BEN JONSON Cæsar cause character circumstances comedy comic contrast Cymbeline Desdemona devil dialogue drama effect excellent excitement exquisite fancy father fear feeling fool genius Ghost give Goneril Greek guilt Hamlet hath heart heaven honour human Iago Iago's images imagination imitation intellect Jonson judgment Julius Cæsar king king's Laertes language Lear Lear's Leontes lord Love's Labour's Lost Macbeth madness means ment metre mind moral nature noble object observe once Othello passage passion perhaps persons play pleasure poem poet poetic poetry Polonius present reason Richard Romeo and Juliet scene seems Sejanus sense Seward Shake Shakespeare Shakespeare never Shakespearian soliloquy speare speech spirit supposed thee Theobald thing thou thought tion Titus Andronicus tragedy true truth Twelfth Night unity Warburton whilst whole Winter's Tale words
Brani popolari
Pagina 148 - Amen, amen ! But come what sorrow can, It cannot countervail the exchange of joy That one short minute gives me in her sight. Do thou but close our hands with holy words, Then love-devouring death do what he dare. It is enough I may but call her mine.
Pagina 177 - Rather proclaim it, Westmoreland, through my host, That he which hath no stomach to this fight, Let him depart; his passport shall be made And crowns for convoy put into his purse. We would not die in that man's company That fears his fellowship to die with us.
Pagina 237 - It will have blood, they say ; blood will have blood : Stones have been known to move, and trees to speak ; Augurs, and understood relations, have By magot-pies, and choughs, and rooks, brought forth The secret'st man of blood.
Pagina 94 - 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.
Pagina 191 - This is the excellent foppery of the world, that, when we are sick in fortune,— often the surfeit of our own behavior,— we make guilty of our disasters the sun, the moon, and the stars: as if we were villains by necessity; fools by heavenly compulsion; knaves, thieves, and treachers, by spherical predominance; drunkards, liars, and adulterers, by an enforced obedience of planetary influence...
Pagina 93 - But love, first learned in a lady's eyes, Lives not alone immured in the brain, But, with the motion of all elements, Courses as swift as thought in every power, And gives to every power a double power, Above their functions and their offices.
Pagina 2 - ... reveals itself in the balance or reconciliation of opposite or discordant qualities: of sameness, with difference; of the general, with the concrete; the idea, with the image; the individual, with the representative; the sense of novelty and freshness, with old and familiar objects; a more than usual state of emotion, with more than usual order...
Pagina 149 - For thou wilt lie upon the wings of night, Whiter than new snow on a raven's back. Come, gentle night: come, loving, black-brow'd night Give me my Romeo: and when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.
Pagina 231 - Good sir, why do you start ; and seem to fear Things that do sound so fair? — I' the name of truth, Are ye fantastical, or that indeed Which outwardly ye show? My noble partner You greet with present grace, and great prediction...
Pagina 2 - ... while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry.