Essays and Studies, Volum 4J. Murray, 1913 |
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Side 12
... feels that it is valuable for the poet to understand the theatre , in order that he may know whether his play is ... feeling , we are wonderfully moved by the natural efforts of a Garrick or a Siddons ; but this is independent of the ...
... feels that it is valuable for the poet to understand the theatre , in order that he may know whether his play is ... feeling , we are wonderfully moved by the natural efforts of a Garrick or a Siddons ; but this is independent of the ...
Side 25
... feel stimulated also by the crowd in the theatre , how can we for a moment believe that the pleasure he receives in the room is different in its nature from the pleasure received from the recitation in the crowded theatre ? So that even ...
... feel stimulated also by the crowd in the theatre , how can we for a moment believe that the pleasure he receives in the room is different in its nature from the pleasure received from the recitation in the crowded theatre ? So that even ...
Side 31
... feel sure ( with Mr. T. S. Omond ) that though English syllables cannot have a strict time - value , English feet cannot be defined , in the last resort , without regard to time . But this question concerns verse more than prose . Yet ...
... feel sure ( with Mr. T. S. Omond ) that though English syllables cannot have a strict time - value , English feet cannot be defined , in the last resort , without regard to time . But this question concerns verse more than prose . Yet ...
Side 39
... feel how the monosyllables win their foot - value , as in verse , either from being prolonged in the utterance , or from being helped out by rests and silences . But the true harmonies of such a passage can only be felt when we return ...
... feel how the monosyllables win their foot - value , as in verse , either from being prolonged in the utterance , or from being helped out by rests and silences . But the true harmonies of such a passage can only be felt when we return ...
Side 40
... feel- ing , which is present to the readers of The Golden Bowl . Some of the effects are broken and conversational — ( ' at ány | cóst | as it wère ' ) ; but the spots of intenser colour , the bursts of louder emphasis , are marked in ...
... feel- ing , which is present to the readers of The Golden Bowl . Some of the effects are broken and conversational — ( ' at ány | cóst | as it wère ' ) ; but the spots of intenser colour , the bursts of louder emphasis , are marked in ...
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accent action actors aesthetic Akeld amphibrach anapaest Aristotle audience beauty bing cadences character cretic crowd cursus dactyl Defoe's dialect dramatic criticism Duncombe Durham Dutch Early forms earth effect element is found Embleton English prose ev'ry evil foot-scansion Foreigners Galsworthy Gibbon gives Greek H. C. BEECHING heaven iamb idea imagination John Tutchin Jones King less light syllables Lord Marlowe Marlowe's meaning metre mind modern moral Nation native cadences nature ne're never Northumberland Nthb paeon passion Phaedrus place-names Plato play playwright poem poet poetry Prometheus Unbound Prose Rhythm Quincey Reepham reign Revolt of Islam Saintsbury Satyr says scansion scene sense sequences Shelley Shelley's shou'd Silver Box Snitter soul speech spirit spondee stage suggests supreme Tamburlaine theatre theatrical theory things third paeons tion tragedy trochee true True-Born Englishman tyrant verse Walkley whole word wou'd Zenocrate καὶ
Populære avsnitt
Side 38 - It was at Rome, on the 15th of October 1764, as I sat musing amidst the ruins of the Capitol, while the bare-footed friars were singing vespers in the Temple of Jupiter, that the idea of writing the decline and fall of the city first started to my mind.
Side 75 - Milton's Devil as\ ^ a moral being is as far superior to his God, as one who perseveres \ in some purpose which he has conceived to be excellent in spite of \ adversity and torture, is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy...
Side 82 - Peace, peace ! he is not dead, he doth not sleep ! He hath awakened from the dream of life. 'Tis we who, lost in stormy visions, keep With phantoms an unprofitable strife, And in mad trance strike with our spirit's knife Invulnerable nothings. We decay Like corpses in a charnel ; fear and grief Convulse us and consume us day by day, And cold hopes swarm like worms within our living clay.
Side 78 - When musing deeply on the lot Of life, at that sweet time when winds are wooing All vital things that wake to bring News of birds and blossoming, Sudden, thy shadow fell on me ; I shrieked, and clasped my hands in ecstasy...
Side 121 - The greatest artists are the greatest sots. The country poor do by example live; The gentry lead them, and the clergy drive: What may we not from such examples hope ? The landlord is their god, the priest their pope. A drunken clergy and a swearing bench...
Side 85 - But Greece and her foundations are Built below the tide of war, Based on the crystalline sea Of thought and its eternity; Her citizens, imperial spirits, Rule the present from the past, On all this world of men inherits Their seal is set.
Side 84 - And many more, whose names on earth are dark But whose transmitted effluence cannot die So long as fire outlives the parent spark, Rose, robed in dazzling immortality. "Thou art become as one of us...
Side 91 - With hue like that when some great painter dips His pencil in the gloom of earthquake and eclipse.
Side 95 - Which bear thy name; love, like the atmosphere Of the sun's fire filling the living world, Burst from thee, and illumined earth and heaven And the deep ocean and the sunless caves And all that dwells within them ; till grief...
Side 11 - Fear and pity may be aroused by spectacular means; but they may also result from the inner structure of the piece, which is the better way, and indicates a superior poet. For the plot ought to be so constructed that, even without the aid of the eye, he who hears the tale told will thrill with horror and melt to pity at what takes place.