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 49
... hand that Shakespear had none at all ; and because Shakespear had much the most wit and fancy , it was retorted on the other , that Johnson wanted both . Because Shakespear borrowed nothing , it was said that Ben Johnson borrowed every ...
... hand that Shakespear had none at all ; and because Shakespear had much the most wit and fancy , it was retorted on the other , that Johnson wanted both . Because Shakespear borrowed nothing , it was said that Ben Johnson borrowed every ...
Side 175
... hands of equal efficacy ; he needs no selection ; he converts every thing into excellence ; nothing is too great ... hand does he prepare and scatter his spells ! The Understand- ing must , in the first place , be subdued ; and lo ...
... hands of equal efficacy ; he needs no selection ; he converts every thing into excellence ; nothing is too great ... hand does he prepare and scatter his spells ! The Understand- ing must , in the first place , be subdued ; and lo ...
Side 320
... hand of their maker . The power of the imagination in them , is the representa- tive power of all nature . It has its centre in the human soul , and makes the circuit of the universe . Id . , ' On Dryden and Pope . ' Shakespeare's ...
... hand of their maker . The power of the imagination in them , is the representa- tive power of all nature . It has its centre in the human soul , and makes the circuit of the universe . Id . , ' On Dryden and Pope . ' Shakespeare's ...
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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