Prefaces to Shakespeare: Introduction. Love's labour's lost. Julius Caesar. King LearSidgwick & Jackson, 1946 |
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Seite 31
... course ; and the candor of the friendship with Horatio will be useful . But with the Queen , and with Ophelia ; here also a Hamlet feelingly himself is needed . Nor can an artificially antic disposition support scenes of crisis , nor ...
... course ; and the candor of the friendship with Horatio will be useful . But with the Queen , and with Ophelia ; here also a Hamlet feelingly himself is needed . Nor can an artificially antic disposition support scenes of crisis , nor ...
Seite 32
... course , that Hamlet himself is struggling amid obscuri- ties and contradictions ; and here is our genius of the workshop , as usual , not only adapting means to end , but end to means , and making capital out of shortcomings . And the ...
... course , that Hamlet himself is struggling amid obscuri- ties and contradictions ; and here is our genius of the workshop , as usual , not only adapting means to end , but end to means , and making capital out of shortcomings . And the ...
Seite 219
... course , in our doubts of this . We shall have taken the Ghost's word without question . It is Hamlet's own doubting which has been so effectively excused by the sustained appearance of innocence . An audience nowadays not only knows ...
... course , in our doubts of this . We shall have taken the Ghost's word without question . It is Hamlet's own doubting which has been so effectively excused by the sustained appearance of innocence . An audience nowadays not only knows ...
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