Shakespeare and His CriticsHoughton Mifflin, 1909 - 386 pages |
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Page 46
... Unity of time . ' Corneille , writing in 1656 , Discours de l'utilité et des parties du Poème Dramatique , says : - These words have given ground to the famous discussion whether they should be understood as referring to a solar day of ...
... Unity of time . ' Corneille , writing in 1656 , Discours de l'utilité et des parties du Poème Dramatique , says : - These words have given ground to the famous discussion whether they should be understood as referring to a solar day of ...
Page 48
... unity of place was de- duced . If the scenes represented are in distant coun- tries , and some of the actors , as is evidently necessary , appear in both places , a longer time than one day would be required to transport them from place ...
... unity of place was de- duced . If the scenes represented are in distant coun- tries , and some of the actors , as is evidently necessary , appear in both places , a longer time than one day would be required to transport them from place ...
Page 49
... unity of action , is of a different 1 The unities of time and place apply to a tragedy , since it is tragedy that Aristotle is discussing . In a comedy when the plot is an intrigue the time is usually short enough to satisfy the most ...
... unity of action , is of a different 1 The unities of time and place apply to a tragedy , since it is tragedy that Aristotle is discussing . In a comedy when the plot is an intrigue the time is usually short enough to satisfy the most ...
Page 51
... unity in the true sense , except perhaps in Troilus and Cressida , when the death of Hector is not dramatically connected with the perfidy of Cressida . This rule of unity of plot was taken to forbid the introduction of sub - plots or ...
... unity in the true sense , except perhaps in Troilus and Cressida , when the death of Hector is not dramatically connected with the perfidy of Cressida . This rule of unity of plot was taken to forbid the introduction of sub - plots or ...
Page 53
... unity of time and place well enough . The place is either a ' park with a palace in it , ' or ' another part of the same , ' with ' a Pavilion and tents at a dis- tance . ' The scenes succeed one another with no sug- gestion of an ...
... unity of time and place well enough . The place is either a ' park with a palace in it , ' or ' another part of the same , ' with ' a Pavilion and tents at a dis- tance . ' The scenes succeed one another with no sug- gestion of an ...
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action actor admiration æsthetic artist audience beauty Ben Jonson Bradley called character Coleridge comedy construction Cymbeline dramatic dramatist edition editors eighteenth century Elizabethan emendations English evident fact Falstaff feel Folio force French genius German ghost give Hamlet Hazlitt hero historical human nature Iago idea imagination interest Johnson Juliet Julius Cæsar King language Lear learned lines literary literature Love's Labour's Lost Macbeth Malone means Merchant of Venice Midsummer Night's Dream mind modern moral never Ophelia original Othello passages passion person playwright plot poet poetic poetry Pope Professor qualities quartos question regard Richard Grant White romantic romanticist Rosalind rules says scene Schlegel scholar seems sense Shake Shakespeare Shakespeare's plays Shakespearean criticism sometimes soul speare speare's spirit stage Steevens story Theobald things thought tion tragedy true Twelfth Night unity verse Warburton Winter's Tale words writing written
Popular passages
Page 27 - Yet must I not give nature all ; thy art, My gentle SHAKESPEARE, must enjoy a part. For though the poet's matter nature be, His art doth give the fashion : and, that he 278 Who casts to write a living line, must sweat, (Such as thine are) and strike the second heat Upon the Muses...
Page 57 - He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul, All the images of Nature were still present to him, and he drew them, not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too.
Page 26 - Euripides, and Sophocles to us, Pacuvius, Accius, him of Cordova, dead, To life again, to hear thy buskin tread And shake a stage ; or, when thy socks were on, Leave thee alone for the comparison Of all that insolent Greece or haughty Rome Sent forth, or since did from their ashes come.
Page 179 - The form is mechanic, when on any given material we impress a predetermined form, not necessarily arising out of the properties of the material; as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form, on the other hand, is innate; it shapes, as it develops, itself from within, and the fullness of its development is one and the same with the perfection of its outward form.
Page 184 - On the stage we see nothing but corporal infirmities and weakness, the impotence of rage ; while we read it, we see not Lear, but we are Lear, — we are in his mind, we are sustained by a grandeur which baffles the "Malice of daughters and .storms.
Page 25 - To draw no envy, SHAKESPEARE, on thy name, Am I thus ample to thy book and fame ; While I confess thy writings to be such, As neither man, nor muse, can praise too much.
Page 57 - I cannot say he is everywhere alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid; his comic wit degenerating into clenches, his serious swelling into bombast. But he is always great when some great occasion is presented to him...
Page 34 - By heaven, methinks it were an easy leap, To pluck bright honour from the pale-faced moon, Or dive into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowned honour by the locks...
Page 116 - Yet the man thus corrupt, thus despicable, makes himself necessary to the prince that despises him, by the most pleasing of all qualities, perpetual gaiety; by an unfailing power of exciting laughter...
Page 26 - And tell how far thou didst our Lyly outshine, Or sporting Kyd, or Marlowe's mighty line...