ShakespeareJ. Cape, 1961 - 448 páginas |
Dentro del libro
Resultados 1-3 de 44
Página xiv
... Henry VIII and are generally characteristic of Fletcher . Mr. Knight will have it that there is a vast difference between the use of this ending in Henry VIII and in Fletcher . The difference is imperceptible to me . He says that in Henry ...
... Henry VIII and are generally characteristic of Fletcher . Mr. Knight will have it that there is a vast difference between the use of this ending in Henry VIII and in Fletcher . The difference is imperceptible to me . He says that in Henry ...
Página xvi
... Henry VIII is a very inadequate successor to Henry V , who is his immediate royal predecessor in th order of imaginative creation ; as an embodiment of th royal ' idea ' he is even less comprehensive than th comrade of Agincourt . And ...
... Henry VIII is a very inadequate successor to Henry V , who is his immediate royal predecessor in th order of imaginative creation ; as an embodiment of th royal ' idea ' he is even less comprehensive than th comrade of Agincourt . And ...
Página 177
... Henry IV , Part II and Henry V ; but I doubt it . It is more likely that the Royal command ( about the fact of which I have little doubt ) compelled a positive exhumation . The Falstaff of The Merry Wives is a good figure of fun ; but ...
... Henry IV , Part II and Henry V ; but I doubt it . It is more likely that the Royal command ( about the fact of which I have little doubt ) compelled a positive exhumation . The Falstaff of The Merry Wives is a good figure of fun ; but ...
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actors Antony Antony and Cleopatra audience Bastard become believe character Cleopatra Coleridge comedy conceit condition conscious Coriolanus creative death deliberate divine doth drama dream Elizabethan Enobarbus experience Falstaff feel genius Gentlemen of Verona Ghost Hamlet hath heart heaven Henry honour Horatio Hotspur human Iago imagination impression Jonson Keats kind King John King Lear live lord Macbeth madness matter means Merchant of Venice Mercutio merely mind moral nature necessity never Othello passion Perdita perhaps play players playwright poet poetic poetry Prince Hamlet Prospero queen reality Richard Richard II royal royalty scene seems sensation sense Shake Shakespeare criticism Shakespearian Shylock simple sleep sonnets soul speak speare speare's speech spontaneity story strange Stratford substance sweet Tempest theatre thee theme thing thou thought tion tragedy true Twelfth Night utterance Venus and Adonis verse Winter's Tale words writing