A Study of Shelley's Drama The CenciColumbia University Press, 1908 - 103 sider |
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Side
... usually been the case . My great indebtedness to the various members of the English department at Columbia University for constant criticism , sug- gestion , and encouragement will be understood by all who have ever worked with them ...
... usually been the case . My great indebtedness to the various members of the English department at Columbia University for constant criticism , sug- gestion , and encouragement will be understood by all who have ever worked with them ...
Side 3
... usually attributed to Shelley , but his own statement to Peacock is simply , " I send you a translation of the Italian manuscript on which my play is founded " ( Shelley to Peacock , August 22 ( ? ) , 1819 ) . Robert Browning thought he ...
... usually attributed to Shelley , but his own statement to Peacock is simply , " I send you a translation of the Italian manuscript on which my play is founded " ( Shelley to Peacock , August 22 ( ? ) , 1819 ) . Robert Browning thought he ...
Side 39
... usually of a hor- rible nature . In harmony with these elements of mystery and horror , the setting is always medieval , and the machinery of the drama of terror , -castle , monastery , secret passages , and dungeons , is generally ...
... usually of a hor- rible nature . In harmony with these elements of mystery and horror , the setting is always medieval , and the machinery of the drama of terror , -castle , monastery , secret passages , and dungeons , is generally ...
Side 74
... usually be interpreted as having been in the interest of " a higher truth . " His attitude on the subject is explicitly stated in his " Essay on Christianity , " where , in defence of certain seeming insincerities of Jesus Christ , he ...
... usually be interpreted as having been in the interest of " a higher truth . " His attitude on the subject is explicitly stated in his " Essay on Christianity , " where , in defence of certain seeming insincerities of Jesus Christ , he ...
Side 84
... usually not more than one line is directly involved . It is usually not the explicit simile or metaphor that is employed , but the less obtrusive and more dramatically suitable trope . In this way , Shelley's fancy , one of the most ...
... usually not more than one line is directly involved . It is usually not the explicit simile or metaphor that is employed , but the less obtrusive and more dramatically suitable trope . In this way , Shelley's fancy , one of the most ...
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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!