The Two Noble KinsmenNew Shakespere Society, 1876 - 107 Seiten |
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Seite 4
... effect has never been questioned . The fact from which the maintainers of Shakspeare's share in this drama have to set out , is the first printing of it , which took place in 1634. In the title - page of this first edition , ' the play ...
... effect has never been questioned . The fact from which the maintainers of Shakspeare's share in this drama have to set out , is the first printing of it , which took place in 1634. In the title - page of this first edition , ' the play ...
Seite 9
... effect of that omission , in reference to any play which can be brought for- ward as Shakspeare's , is just this , that the want of the drama in their edition , is of itself no proof whatever that Shakspeare was not the author of it ...
... effect of that omission , in reference to any play which can be brought for- ward as Shakspeare's , is just this , that the want of the drama in their edition , is of itself no proof whatever that Shakspeare was not the author of it ...
Seite 12
... effect in pro- ducing this , by imprinting their own works in their memories with unusual strength ? Fletcher and his associate were free from that risk . The likeness to Shakspere in The Two Noble Kinsmen , and him , are likely to be ...
... effect in pro- ducing this , by imprinting their own works in their memories with unusual strength ? Fletcher and his associate were free from that risk . The likeness to Shakspere in The Two Noble Kinsmen , and him , are likely to be ...
Seite 13
... effects in the play before us . Counter - reflect ( a noun ) ; meditance ; couch and corslet ( used as verbs ) ; operance ; Qualities of style : energy , Shakspere's obscurity , abruptness , brevity ( in late plays ) . Shakspere never ...
... effects in the play before us . Counter - reflect ( a noun ) ; meditance ; couch and corslet ( used as verbs ) ; operance ; Qualities of style : energy , Shakspere's obscurity , abruptness , brevity ( in late plays ) . Shakspere never ...
Seite 17
... effect of the whole is often picturesque picturesque . rather than poetically touching ; and it is evident that lengthened description can still less frequently be dramatic . In his descriptions , it is observable that the poetical ...
... effect of the whole is often picturesque picturesque . rather than poetically touching ; and it is evident that lengthened description can still less frequently be dramatic . In his descriptions , it is observable that the poetical ...
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Häufige Begriffe und Wortgruppen
action admirable allusions Arcite Arcite's argument Beaumont and Fletcher beauty character characteristic Chaucer chivalrous classical conception dialogue doubt drama edition effect Emilia evil expression external F. J. Furnivall fancy favour feeling Folio Furnivall give Hamlet Henry Hickson Hippolita human imagery images imagination imitation instance internal evidence JOHN HILL BURTON Jonson Juliet knights lady Lear less literature Littledale lofty Macbeth Massinger mental Midsummer Night's Dream mind moral nature never Noble Kinsmen original Othello Oxlip Palamon passages passion play plot poem poet poet's poetical art poetical faculty poetry present principles Prof Professor qualities Quarto Queen reason reflection representation romantic scene Shak Shakspeare's authorship Shakspere Society Shakspere's shew solemn Spalding Spalding's spirit story strength style thee Theseus thou thought tion tragic Troilus and Cressida true truth underplot versification Weber whole words writers written
Beliebte Passagen
Seite 111 - Oft breaking down the pales and forts of reason, Or by some habit that too much o'er-leavens The form of plausive manners ; that these men, Carrying, I say, the stamp of one defect, Being nature's livery, or fortune's star, Their virtues else, be they as pure as grace, As infinite as man may undergo, Shall in the general censure take corruption From that particular fault : the dram of eale Doth all the noble substance of a doubt To his own scandal.
Seite 110 - Whose horrid image doth unfix my hair, And make my seated heart knock at my ribs, Against the use of nature ? Present fears Are less than horrible imaginings : My thought, whose murder yet is but fantastical, Shakes so my single state of man, that function Is smother'd in surmise; and nothing is, But what is not.
Seite 111 - That for some vicious mole of nature in them, As, in their birth— wherein they are not guilty, Since nature cannot choose his origin— By the o'ergrowth of some complexion, Oft breaking down the pales and forts of reason...
Seite 73 - When in the chronicle of wasted time I see descriptions of the fairest wights, And beauty making beautiful old rhyme In praise of ladies dead and lovely knights, Then, in the blazon of sweet beauty's best, Of hand, of foot, of lip, of eye, of brow, I see their antique pen would have express'd Even such a beauty as you master now.
Seite 76 - And my poor fool is hang'd ! No, no, no life ! Why should a dog, a horse, a rat, have life, And thou no breath at all ? Thou 'It come no more, Never, never, never, never, never ! Pray you, undo this button : thank you, sir. Do you see this ? Look on her, look, her lips, Look there, look there ! [Dies.
Seite 37 - Loaden with kisses, arm'd with thousand Cupids, Shall never clasp our necks ; no issue know us; No figures of ourselves shall we e'er see, To glad our age, and like young eagles teach them Boldly to gaze against bright arms, and say, Remember what your fathers were, and conquer!
Seite 34 - The flower that I would pluck And put between my breasts — O then but beginning To swell about the blossom — she would long Till she had such another, and commit it To the like innocent cradle, where, phoenix-like, They died in perfume.
Seite 24 - I am in labour To push your name, your ancient love, our kindred, Out of my memory ; and i' the self-same place To seat something I would confound : so hoist we The sails, that must these vessels port even where The heavenly limiter pleases.
Seite 34 - The one of th' other may be said to water Their intertangled roots of love ; but I, And she I sigh and spoke of, were things innocent, Lov'd for we did, and like the elements That know not what nor why, yet do effect Rare issues by their operance, our souls Did so to one another : what she...
Seite 28 - Maiden pinks of odour faint, Daisies smell-less, yet most quaint, And sweet thyme true; Primrose, first-born child of Ver, Merry spring-time's harbinger, With her bells dim; Oxlips in their cradles growing, Marigolds on death-beds blowing, Lark-heels trim; All, dear Nature's children sweet.