Prefaces to Shakespeare: Introduction. Love's labour's lost. Julius Caesar. King LearSidgwick & Jackson, 1946 |
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Seite 146
... Court , Hamlet's somber figure outlined against it as before.24 23 I venture to prefer the Folio reading of the last sentence , which I understand ( though that may not be the best of reasons ) , to Q2's , which , despite Dover Wilson's ...
... Court , Hamlet's somber figure outlined against it as before.24 23 I venture to prefer the Folio reading of the last sentence , which I understand ( though that may not be the best of reasons ) , to Q2's , which , despite Dover Wilson's ...
Seite 309
... Court figure to transcendent dramatic use . There are few greater pleasures in art than to find the familiar made new ; but to us stage Fool and Court Fool alike are strange to start with . Court Fool has , to be sure , a likely claim ...
... Court figure to transcendent dramatic use . There are few greater pleasures in art than to find the familiar made new ; but to us stage Fool and Court Fool alike are strange to start with . Court Fool has , to be sure , a likely claim ...
Seite 350
... court of Venice , like enough to any law court , from East to West , from Shakespeare's time to now , in that it will seem to the stranger there very dry and discouraging , airless , lifeless . Age and incre- dulity preside ; and if ...
... court of Venice , like enough to any law court , from East to West , from Shakespeare's time to now , in that it will seem to the stranger there very dry and discouraging , airless , lifeless . Age and incre- dulity preside ; and if ...
Inhalt
THE STUDY AND THE STAGE I | 1 |
THE CONVENTION OF PLACE | 8 |
THE BOYACTRESS | 14 |
Urheberrecht | |
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action actor answer Antony Antony and Cleopatra Antony's audience Bassanio beginning Belarius better Cæsar character Charmian Claudius Cleopatra Cloten comes contrast Cordelia Court Cymbeline dead death Dover Wilson dramatic dramatist effect Elizabethan emotion Enobarbus eyes father feel Folio Fool Fortinbras Gertrude Ghost give Gloucester Goneril Guiderius Hamlet hath hear heart Horatio Iachimo imagination Imogen inner stage Julius Cæsar Kent King Lear King's Laertes later Lear's leave lines look lord madness matter means mind mother murder nature never once Ophelia Osric Othello pass passion pause Pisanio play play's Players Polonius Pompey Portia Posthumus prose Queen Regan Roman Rosencrantz and Guildenstern scene sense Shake Shakespeare Shylock sight soliloquy sort speak speare speech spirit stage direction stagecraft stand story surely tale talk tell theater thee thing thou thought tragedy turn verse words