Julius CaesarРипол Классик, 2000 Бесподобная история Юлия Цезаря в интерпретации бессмертного драматурга Уильяма Шекспира. После того как становится известно, что титул короля и диктатора Рима для Цезаря - всего лишь дело времени, сенатор Кассий, обеспокоенный подобным положением дел, убеждает Брута, лучшего друга Цезаря, в том, что они должны оградить Цезаря от такой власти. К чему же приведёт вероломный заговор?..Читайте зарубежную литературу в оригинале! |
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Seite 6
... turns his face; But, when he once attains the upmost round, He then unto the ladder turns his back, Looks in the clouds, scorning the base degrees By which he did ascend. Here we have a full, rounded period in which all the elements ...
... turns his face; But, when he once attains the upmost round, He then unto the ladder turns his back, Looks in the clouds, scorning the base degrees By which he did ascend. Here we have a full, rounded period in which all the elements ...
Seite 13
... turn a tide. If Shakespeare idealises Brutus, Cassius, Antony, he has notoriously depressed Cæsar. Plutarch's own Cæsar is far from being the Cæsar of Mommsen; and Shakespeare has touched the slightly disparaging portrait into something ...
... turn a tide. If Shakespeare idealises Brutus, Cassius, Antony, he has notoriously depressed Cæsar. Plutarch's own Cæsar is far from being the Cæsar of Mommsen; and Shakespeare has touched the slightly disparaging portrait into something ...
Seite 14
... turns our swords In our own proper entrails— is the final confession of failure. The apparition of Cæsar's spirit is a visible embodiment of the invisible forces which are controlling the issues of the plot. Shakespeare here finely ...
... turns our swords In our own proper entrails— is the final confession of failure. The apparition of Cæsar's spirit is a visible embodiment of the invisible forces which are controlling the issues of the plot. Shakespeare here finely ...
Seite 19
... turn back. 16 It is evident from the opening scene, that Shakespeare, even in dealing with classical subjects, laughed at the classic fear of putting the ludicrous and sublime into juxtaposition. After the low and farcical jests of the ...
... turn back. 16 It is evident from the opening scene, that Shakespeare, even in dealing with classical subjects, laughed at the classic fear of putting the ludicrous and sublime into juxtaposition. After the low and farcical jests of the ...
Seite 21
... turn'd to hear. SOOTHSAYER. Beware the Ides of March. CÆSAR. What man is that? BRUTUS. A soothsayer bids you beware the Ides of March.26 CÆSAR. Set him before me; let me see his face. CASSIUS. Fellow, come from the throng; look upon ...
... turn'd to hear. SOOTHSAYER. Beware the Ides of March. CÆSAR. What man is that? BRUTUS. A soothsayer bids you beware the Ides of March.26 CÆSAR. Set him before me; let me see his face. CASSIUS. Fellow, come from the throng; look upon ...
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answer appear battle bear better blood body Brutus Cæsar called Capitol CASCA CASSIUS cause Cicero Cimber CINNA CITIZEN comes common conspirators course dangerous dead death DECIUS BRUTUS doth enemy Enter Exeunt Exit eyes face fact fall fear fell fire follow FOURTH friends ghost give gods hand hath hear heart hold honour Italy Julius Cæsar keep kill leave live look lord LUCILLIUS LUCIUS March Mark Antony matter means meet MESSALA METELLUS mighty mind moved nature never night noble Octavius Peace PINDARUS play Plutarch Poet PORTIA present probably reason repeatedly Roman Rome SCENE seems senators sense SERVANT Shakespeare sick soldier SOOTHSAYER speak speech spirit stand streets strong sword tell thee thing THIRD thou thought TITINIUS true turn unto wrong