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 95
... imitations of successive actions , and why may not the second imitation represent an action that happened years after the first ; if it be so connected with it , that nothing but time can be supposed to inter- vene . Time is , of all ...
... imitations of successive actions , and why may not the second imitation represent an action that happened years after the first ; if it be so connected with it , that nothing but time can be supposed to inter- vene . Time is , of all ...
Side 150
... imitation is very different from that of description , and far superior.1 No writer has hitherto appeared who possesses in a more eminent degree than Shakespeare , the power of imitating the passions . All of them seem familiar to him ...
... imitation is very different from that of description , and far superior.1 No writer has hitherto appeared who possesses in a more eminent degree than Shakespeare , the power of imitating the passions . All of them seem familiar to him ...
Side 230
... imitation , or , more accurately , a blind copying of effects , instead of a true imitation of the essential principles ? -Imagine not that I am about to oppose genius to rules . No ! the comparative value of these rules is the very ...
... imitation , or , more accurately , a blind copying of effects , instead of a true imitation of the essential principles ? -Imagine not that I am about to oppose genius to rules . No ! the comparative value of these rules is the very ...
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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