Prefaces to Shakespeare: Introduction. Love's labour's lost. Julius Caesar. King LearSidgwick & Jackson, 1946 |
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Harley Granville-Barker. can do his own persuading , and it is clear that his smooth tongue has already made good play : • Now must your conscience my acquittance seal , And you must put me ... clear , and is soon 130 Prefaces to Shakespeare.
Harley Granville-Barker. can do his own persuading , and it is clear that his smooth tongue has already made good play : • Now must your conscience my acquittance seal , And you must put me ... clear , and is soon 130 Prefaces to Shakespeare.
Seite 175
... clear and vivid effect , the magnificent hyperbole which follows - the " solidity and compound mass ... tristful visage . . . doom ... thought - sick . . . ” — is meant but to give us a vague sense of the whole world struck pale beneath ...
... clear and vivid effect , the magnificent hyperbole which follows - the " solidity and compound mass ... tristful visage . . . doom ... thought - sick . . . ” — is meant but to give us a vague sense of the whole world struck pale beneath ...
Seite 264
... clear to the characters themselves for the moment , their only certainty be of the intensity of the emotions themselves . There are devices enough by which , if the dramatist wishes , this significance can be kept currently clear to the ...
... clear to the characters themselves for the moment , their only certainty be of the intensity of the emotions themselves . There are devices enough by which , if the dramatist wishes , this significance can be kept currently clear to the ...
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