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1st Footman 1st Gent 1st Lady 2d Footman 2d Lady 2d Waiter Allan Clare appetite beautiful Belvil better boys character CHARLES LAMB Christ's Hospital cottage countenance creature curiosity dear death deformity delight dizzard dream Elinor expression eye of mind eyes face fancy feel gentleman Gin Lane girl give grandmother Hamlet hanging happy hath hear heart Hogarth honour human humour images Industry and Idle innocence JAMES SHERIDAN KNOWLES John Tomkins kind Landlord Lear living look Lord Macbeth Madam maid Margaret Maria Matravis melancholy Melesinda mind mirth Miss Clare moral Mother Damnable nature never old lady Othello passion person physiognomy play pleasure poet poor Rake's Progress Rosamund Gray scene seems servants Shakspeare shew smile sort soul speak spirit suffer sweet Tamburlaine tender thing thought tion Widford WILLIAM ROWLEY woman wonder young
Seite 234 - But man is a noble animal, splendid in ashes, and pompous in the grave, solemnizing nativities and deaths with equal lustre, nor omitting ceremonies of bravery in the infamy of his nature.
Seite 122 - ... 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; in the aberrations of his reason, we discover a mighty irregular power of reasoning, immethodized from the ordinary purposes of life, but exerting its powers, as the wind blows where it listeth, at will upon the corruptions and abuses of mankind.
Seite 122 - A happy ending! — as if the living martyrdom that Lear had gone through, the flaying of his feelings alive, did not make a fair dismissal from the stage of life the only decorous thing for him.
Seite 114 - ... between Hamlet and Ophelia there is a stock of supererogatory love (if I may venture to use the expression), which in any great grief of heart, especially where that which preys upon the mind cannot be communicated, confers a kind of indulgence upon the grieved party to express itself, even to its heart's dearest object, in the language of a temporary alienation...
Seite 125 - What we see upon a stage is body and bodily action ; what we are conscious of in reading is almost exclusively the mind and its movements : and this, I think, may sufficiently account for the very different sort of delight with which the same play so often affects us in the reading and the seeing.
Seite 159 - He would have made a great epic poet, if indeed he has not abundantly shown himself to be one ; for his Homer is not so properly a translation as the stories of Achilles and Ulysses re-written.
Seite 116 - O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand...
Seite 143 - Heywood is a sort of prose Shakspeare. His scenes are to the full as natural and affecting. But we miss the poet, that which in Shakspeare always appears out and above the surface of the nature.
Seite 119 - The truth is, the Characters of Shakspeare are so much the objects of meditation rather than of interest or curiosity as to their actions, that while we are reading any of his great criminal characters, - Macbeth, Richard, even lago, - we think not so much of the crimes which they commit, as of the ambition, the aspiring spirit, the intellectual activity, which prompts them to overleap those moral fences.
Seite 123 - ... living martyrdom that Lear had gone through — the flaying of his feelings alive, did not make a fair dismissal from the stage of life the only decorous thing for him. If he is to live and be happy after, if he could sustain this world's burden after, why all this pudder and preparation, why torment us with all this unnecessary sympathy ? As if the childish pleasure of getting his gilt robes and sceptre again could tempt him to act over again his misused station ; as if, at his years, and with...