A Study of Shelley's Drama The CenciColumbia University Press, 1908 - 103 sider |
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Side 1
... play by Shelley students there are several reasons . Its subject - matter , incest , is not an attractive or a significant theme for the world to - day , and the interest of Byron and Shelley in the topic inevitably seems to us morbid ...
... play by Shelley students there are several reasons . Its subject - matter , incest , is not an attractive or a significant theme for the world to - day , and the interest of Byron and Shelley in the topic inevitably seems to us morbid ...
Side 2
... play as a whole , of its rela- tive literary and dramatic value , and of its significance in our understanding of Shelley as man and as poet ? These are the chief problems of which an attempted solution is set forth in the following ...
... play as a whole , of its rela- tive literary and dramatic value , and of its significance in our understanding of Shelley as man and as poet ? These are the chief problems of which an attempted solution is set forth in the following ...
Side 3
... play is founded " ( Shelley to Peacock , August 22 ( ? ) , 1819 ) . Robert Browning thought he remembered having heard somewhere that the translation was by Mrs. Shelley ( Browning , Works , Camberwell ed . , ix . 305 ) . spring at Rome ...
... play is founded " ( Shelley to Peacock , August 22 ( ? ) , 1819 ) . Robert Browning thought he remembered having heard somewhere that the translation was by Mrs. Shelley ( Browning , Works , Camberwell ed . , ix . 305 ) . spring at Rome ...
Side 4
... plays , of previous exist- ence in the popular consciousness as a source of tragic emotion . But the real inspiration for his work seems to have come from the supposed portrait1 of Beatrice Cenci by Guido Reni in the Barberini2 palace ...
... plays , of previous exist- ence in the popular consciousness as a source of tragic emotion . But the real inspiration for his work seems to have come from the supposed portrait1 of Beatrice Cenci by Guido Reni in the Barberini2 palace ...
Side 8
... play except Coleridge's " Remorse " ; that he had taken particular pains to adapt it to the stage ; that 1 Shelley to Peacock , July 1819 ( Shelley's Works , Forman ed . viii . 112 ) . the leading role might even seem to have been written ...
... play except Coleridge's " Remorse " ; that he had taken particular pains to adapt it to the stage ; that 1 Shelley to Peacock , July 1819 ( Shelley's Works , Forman ed . viii . 112 ) . the leading role might even seem to have been written ...
Andre utgaver - Vis alle
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!