Shakespeare Criticism: A SelectionDavid Nichol Smith Oxford University Press, 1946 - 371 sider Commentary and literary criticism ranging from the preface by John Heminge and Henry Condell, originally 'prefixed to the First Folio' in 1623, to Thomas Carlyle's lecture 'The Hero as Poet, ' delivered 12th May, 1840 as the third lecture of his 'On heroes, hero-worship, and the heroic in history.' |
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Side 266
... Othello Lectures . Act I. sc . I. Rod . What a full fortune does the thick - lips owe , If he can carry ' t thus . Roderigo turns off to Othello ; and here comes one , if not the only , seeming justification of our blackamoor or negro ...
... Othello Lectures . Act I. sc . I. Rod . What a full fortune does the thick - lips owe , If he can carry ' t thus . Roderigo turns off to Othello ; and here comes one , if not the only , seeming justification of our blackamoor or negro ...
Side 268
... Othello does not kill Des- demona in jealousy , but in a conviction forced upon him by the almost superhuman art of lago , such a con- ction as any man would and must have entertained who had believed Iago's honesty as Othello did . We ...
... Othello does not kill Des- demona in jealousy , but in a conviction forced upon him by the almost superhuman art of lago , such a con- ction as any man would and must have entertained who had believed Iago's honesty as Othello did . We ...
Side 283
... OTHELLO is at once equally profound and affecting . The picturesque contrasts of character in this play are almost as remarkable as the depth of the passion . The Moor Othello , the gentle Desdemona , the villain lago , the good ...
... OTHELLO is at once equally profound and affecting . The picturesque contrasts of character in this play are almost as remarkable as the depth of the passion . The Moor Othello , the gentle Desdemona , the villain lago , the good ...
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JOHN HEMINGE d 1630 | 1 |
JOHN MILTON 160874 | 7 |
MARGARET CAVENDISH DUCHESS OF NEWCASTLE 162474 | 13 |
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action admiration appear audience Banquo beauty Ben Johnson Caliban character circumstances comedy courage criticism daughters delight dialogue drama effect English equal Euripides excellence expressed faculties Falstaff fancy faults feel force genius ghost give Hamlet hath heart HENRY HOME honour human humour Iago images imagination imitation impression judgment kind King King Lear Lady Macbeth Landor language Lear learning look Macbeth Maurice Morgann Milton mind moral murder nature never numbers object observation Othello passages passion perfect perhaps persons play poet poetical poetry Polonius praise principles qualities reader reason represented Richard Romeo and Juliet scene seems sense sentiments Shak Shake Shakespeare shew shewn Sir John Falstaff Sophocles soul speak speare speare's speech spirit stage sweet thee thing thou thought thro tion tragedy true truth Venus and Adonis whole William Shakespear words writers