Prefaces to Shakespeare: Introduction. Love's labour's lost. Julius Caesar. King LearSidgwick & Jackson, 1946 |
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Seite 54
... action and character in action ; and it is not easy to indicate other traits of character than those which the action immediately quickens without resorting to reminiscence and description and similar enfeebling and dilatory devices ...
... action and character in action ; and it is not easy to indicate other traits of character than those which the action immediately quickens without resorting to reminiscence and description and similar enfeebling and dilatory devices ...
Seite 70
... action , the con- centrating of a play's interest upon a man's inaction must give rise to difficulties . Action of some sort there must be ; something must continually be happening , and the chief char- acter must have a chief share in ...
... action , the con- centrating of a play's interest upon a man's inaction must give rise to difficulties . Action of some sort there must be ; something must continually be happening , and the chief char- acter must have a chief share in ...
Seite 259
... action alone nor the revelation of character only , but for character in action . Pertinently so ; since the character - revealing problems of life present themselves as problems of action , which men attack even as Hamlet does , imagi ...
... action alone nor the revelation of character only , but for character in action . Pertinently so ; since the character - revealing problems of life present themselves as problems of action , which men attack even as Hamlet does , imagi ...
Inhalt
THE STUDY AND THE STAGE I | 1 |
THE CONVENTION OF PLACE | 8 |
THE BOYACTRESS | 14 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
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