Prefaces to Shakespeare: Introduction. Love's labour's lost. Julius Caesar. King LearSidgwick & Jackson, 1946 |
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Seite 39
... dramatic end . He turns time to dramatic use also , ignores or remarks its passing , and uses clock or calendar or falsifies or neglects them just as it suits him . The play opens upon the stroke of midnight , an ominous and " dramatic ...
... dramatic end . He turns time to dramatic use also , ignores or remarks its passing , and uses clock or calendar or falsifies or neglects them just as it suits him . The play opens upon the stroke of midnight , an ominous and " dramatic ...
Seite 69
... dramatic significance lies just in this ; in the casual ( or so seeming ) encounters and the evasively irrelevant talk , diluted at last into topical gossip of theatrical affairs — the smallest of small beer ! -silenced only to hear a ...
... dramatic significance lies just in this ; in the casual ( or so seeming ) encounters and the evasively irrelevant talk , diluted at last into topical gossip of theatrical affairs — the smallest of small beer ! -silenced only to hear a ...
Seite 309
... dramatic use for Kent till he can bring him on , the play all but done , with I am come To bid my king and master aye good - night . So he must just keep him in being meanwhile . That Kent should survive so effectively to the play's end ...
... dramatic use for Kent till he can bring him on , the play all but done , with I am come To bid my king and master aye good - night . So he must just keep him in being meanwhile . That Kent should survive so effectively to the play's end ...
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