A Study of Shelley's Drama The CenciColumbia University Press, 1908 - 103 sider |
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Side 19
... Wordsworth , in a brief conversation with Trelawny in the summer of 1820 , only the single phrase , " Won't do . " Shelley's own regard for his play seems to have gradually diminished . While still in the first fervor of composition ...
... Wordsworth , in a brief conversation with Trelawny in the summer of 1820 , only the single phrase , " Won't do . " Shelley's own regard for his play seems to have gradually diminished . While still in the first fervor of composition ...
Side 37
... Wordsworth , Coleridge , Byron , Shelley , and Keats devoted themselves seriously to learning the craftsmanship of the art , we might well have had an English romantic drama at least as successful as the French . 1 The French school was ...
... Wordsworth , Coleridge , Byron , Shelley , and Keats devoted themselves seriously to learning the craftsmanship of the art , we might well have had an English romantic drama at least as successful as the French . 1 The French school was ...
Side 38
... Wordsworth , Coleridge , Keats , and Byron , that Shelley as a dramatist is naturally first to be considered , since his work belongs to the same general school of poetic drama as theirs . Certain main characteristics hold true of the ...
... Wordsworth , Coleridge , Keats , and Byron , that Shelley as a dramatist is naturally first to be considered , since his work belongs to the same general school of poetic drama as theirs . Certain main characteristics hold true of the ...
Side 39
... Wordsworth's Oswald , Coleridge's Ordonio and Emerick , and Keats's Conrad all belong to the same type - enormously wicked , capable of any cruelty or crime , subtle , crafty , cunning , intellectual , and absolutely without conscience ...
... Wordsworth's Oswald , Coleridge's Ordonio and Emerick , and Keats's Conrad all belong to the same type - enormously wicked , capable of any cruelty or crime , subtle , crafty , cunning , intellectual , and absolutely without conscience ...
Side 40
... Wordsworth was of exactly the same age as Shelley when " The Cenci " was composed . Written in the first instance with no thought of the stage , as Wordsworth himself tells us , 2 it was curtailed at the suggestion of a certain Mr ...
... Wordsworth was of exactly the same age as Shelley when " The Cenci " was composed . Written in the first instance with no thought of the stage , as Wordsworth himself tells us , 2 it was curtailed at the suggestion of a certain Mr ...
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A Study of Shelley's Drama: The Cenci (Classic Reprint) Ernest Sutherland Bates Ingen forhåndsvisning tilgjengelig - 2019 |
A Study of Shelley's Drama the Cenci (1908) Ernest Sutherland Bates Ingen forhåndsvisning tilgjengelig - 2008 |
Vanlige uttrykk og setninger
Alma Murray appears audience Beatrice Cenci Beatrice's Bernardo Byron Camillo cent characteristics characterization characters chief closet drama Coleridge Coleridge's Colonna Palace contemporary Count Cenci Covent Garden crime criticism death dialogue Dowden dramatic power dramatist Drury Lane Elizabethan emotional English poets entirely expression fact father Fazio feeling Forman Giacomo hand Helene Richter heroes horror Ibid imagery imagination important instance intellectual interest Italian J. A. Symonds Keats Keats's Leigh Hunt less lines literary Lucretia lyric Macready manuscript Marino Faliero Marzio Medwin mind Miss O'Neil moral murder of Cenci nature Olimpio Ollier Orsino Othello Palace passages passion Peacock Petrella play plot poems poetic poetry preface Prometheus Unbound Queen Mab Remorse Review Revolt of Islam rhythm romantic romanticists second act seems Shakespere Shelley Society Shelley's drama situation soliloquy speech style success terror theater theatrical theme third act thought tion tragedy tragic Trelawny utterance Werner whole Wordsworth writing Zapolya
Populære avsnitt
Side 79 - Even tho' dead, Does not his spirit live in all that breathe, And work for me and mine still the same ruin, Scorn, pain, despair ? Who ever yet returned To teach the laws of death's untrodden realm ? Unjust perhaps as those which drive us now, Oh, whither, whither ? LUCRETIA.
Side 5 - How comes this hair undone? Its wandering strings must be what blind me so, And yet I tied it fast.
Side 8 - There is only one part of it I am judge of — the poetry and dramatic effect, which by many spirits nowadays is considered the Mammon. A modern work, it is said, must have a purpose, which may be the God. An artist must serve Mammon; he must have "self -concentration
Side 80 - Oh, horrible ! The pavement sinks under my feet ! The walls Spin round ! I see a woman weeping there, And standing calm and motionless, whilst I Slide giddily as the world reels. — My God ! The beautiful blue heaven is flecked with blood ! The sunshine on the floor is black...
Side 13 - I have avoided with great care in writing this play the introduction of what is commonly called mere poetry, and I imagine there will scarcely be found a detached simile or a single isolated description...
Side 55 - The King, the wearer of a gilded chain That binds his soul to abjectness, the fool Whom courtiers nickname monarch, whilst a slave Even to the basest appetites...
Side 71 - I entirely agree with those modern critics who assert, that in order to move men to true sympathy we must use the familiar language of men...
Side 49 - Pah! I am choked! There creeps A clinging, black, contaminating mist About me ... 'tis substantial, heavy, thick, I cannot pluck it from me, for it glues My fingers and my limbs to one another, And eats into my sinews, and dissolves My flesh to a pollution, poisoning The subtle, pure, and inmost spirit of life!