Shakespeare ManualMacmillan and Company, 1876 - 312 עמודים |
מתוך הספר
תוצאות 1-5 מתוך 40
עמוד 35
... Prose appears here for the first time as an essential part of the drama in his historical plays . XIII . -2 HENRY IV . 1. Certainly Shakespeare's . 2. Same as preceding . 3. Dated by Drake , 1596 ; Chalmers , 1597 ; Malone , 1598 , I ...
... Prose appears here for the first time as an essential part of the drama in his historical plays . XIII . -2 HENRY IV . 1. Certainly Shakespeare's . 2. Same as preceding . 3. Dated by Drake , 1596 ; Chalmers , 1597 ; Malone , 1598 , I ...
עמוד 42
... prose in it . This early drama , along with the old Hamlet , 2 and 3 Henry VI . , and Titus Andro- nicus , almost certainly came into the possession of the Chamber- lain's company in 1600. They previously belonged to the Earl of ...
... prose in it . This early drama , along with the old Hamlet , 2 and 3 Henry VI . , and Titus Andro- nicus , almost certainly came into the possession of the Chamber- lain's company in 1600. They previously belonged to the Earl of ...
עמוד 71
... prose . Jonson is known by jolting rough tri - syllabic feet where there is no pause . " Best put yourself in your case again and keep . " He avoids lines of less than 5 feet , and is singularly regular in his metre . Ford has many ...
... prose . Jonson is known by jolting rough tri - syllabic feet where there is no pause . " Best put yourself in your case again and keep . " He avoids lines of less than 5 feet , and is singularly regular in his metre . Ford has many ...
עמוד 72
... prose , not using the extra emphatic syllable , allowing rhymes in the middle of his blank verse , and frequent unstopped lines . Marlowe is distinguished from Peele by his not using the Chapman rhymes nor the tri - syllabic feet of ...
... prose , not using the extra emphatic syllable , allowing rhymes in the middle of his blank verse , and frequent unstopped lines . Marlowe is distinguished from Peele by his not using the Chapman rhymes nor the tri - syllabic feet of ...
עמוד 131
... but the earliest period , when fancy was strong , and the sense of the prose realities of life comparatively weak . Note also that the three comedies in this first period all observe the unity of 9-2 METRICAL TESTS . 131.
... but the earliest period , when fancy was strong , and the sense of the prose realities of life comparatively weak . Note also that the three comedies in this first period all observe the unity of 9-2 METRICAL TESTS . 131.
תוכן
1 | |
6 | |
12 | |
14 | |
22 | |
23 | |
31 | |
48 | |
104 | |
110 | |
130 | |
135 | |
139 | |
151 | |
163 | |
171 | |
54 | |
58 | |
60 | |
65 | |
66 | |
73 | |
80 | |
81 | |
86 | |
91 | |
92 | |
98 | |
99 | |
187 | |
209 | |
224 | |
232 | |
239 | |
245 | |
259 | |
270 | |
276 | |
280 | |
295 | |
303 | |
312 | |
מהדורות אחרות - הצג הכל
מונחים וביטויים נפוצים
actors Admiral's Alexandrines All's alludes allusions altered assigned Beaumont Blackfriars Bull Chamberlain's Children of Paul's Cockpit Comedy Curtain Cymbeline Dekker Delius double endings Drury Lane Dyce Earl edition evidence Fleay Fletcher Folio Fortune Gentlemen of Verona Globe Hamlet Henry VI Henry VIII instance John Jonson Julius Cæsar King King's Lear Lord Strange's Love's Labour's Lost Macbeth Malone Marlowe Massinger Merchant of Venice Merry Wives metre metrical tests Middleton Midsummer Night's Dream Name of Play Night Noble Kinsmen old play Othello passages Paul's Peele Pericles period Play 2nd Author poet Prince's printed probably prose published Quarto Queen's rhyming lines Richard Richard III Romeo and Juliet Rowley scene Shake Shakespeare Shakespeare's plays Shrew story Stratford style syllable Taming Theatre thou Timon Titus Andronicus Tragedy Troylus and Cressida Winter's Tale Witch Wives of Windsor writing written wrote
קטעים בולטים
עמוד 251 - The Prince of Cumberland! that is a step On which I must fall down, or else o'erleap, For in my way it lies. Stars, hide your fires; Let not light see my black and deep desires: The eye wink at the hand; yet let that be, Which the eye fears, when it is done, to see.
עמוד 18 - tis not to me she speaks: Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return.
עמוד 267 - Su'ffiaminandus erat,' as Augustus said of Haterius. His wit was in his own power; would the rule of it had been so too ! Many times he fell into those things could not escape laughter ; as when he said, in the person of Caesar, one speaking to him,' Cajsar, thou dost me wrong,' he replied,' Caesar did never wrong but with just cause,' and such like; which were ridiculous.
עמוד 248 - If you can look into the seeds of time, And say, which grain will grow, and which will not, Speak then to me, who neither beg, nor fear, Your favours, nor your hate.
עמוד 266 - I remember the Players have often mentioned it as an honour to Shakespeare, that in his writing (whatsoever he penned) he never blotted out line. My answer hath been, would he had blotted a thousand.
עמוד 14 - As Plautus and Seneca are accounted the best for Comedy and Tragedy among the Latins, so Shakespeare among the English is the most excellent in both kinds for the stage...
עמוד 294 - ... wanton, smile upon my knee ; When thou art old there's grief enough for thee.
עמוד 267 - I loved the man, and do honour his memory, on this side idolatry, as much as any. He was (indeed) honest, and of an open and free nature; had an excellent phantasy, brave notions, and gentle expressions; wherein he flowed with that facility, that sometimes it was necessary he should be stopped: Sufflaminandus erat, as Augustus said of Haterius.
עמוד 125 - The name of soldier, with inglorious ease. In the full vintage of my flowing honours, Sat still, and saw it prest by other hands.
עמוד 13 - I am as sorry as if the original fault had been my fault, because myself have seen his demeanour no less civil than he excellent in the quality he professes: besides, divers of worship have reported his uprightness of dealing which argues his honesty, and his facetious grace in writing, that approves his art.