Shakespeare as a Dramatic Artist: With an Account of His Reputation at Various PeriodsC. Scribner's Sons, 1901 - 449 pages |
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... method of settling the text of his works ; and furthermore , to furnish some slight portrayal of the men , whether well or little known , who were concerned in these various conflicts , and to relate the precise part they took . It is ...
... method of settling the text of his works ; and furthermore , to furnish some slight portrayal of the men , whether well or little known , who were concerned in these various conflicts , and to relate the precise part they took . It is ...
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... methods taken to establish the text of his works in its original purity . There are matters of dispute in regard to Shakespeare which do not range themselves under either of these heads ; but , comparatively speak- ing , they are of ...
... methods taken to establish the text of his works in its original purity . There are matters of dispute in regard to Shakespeare which do not range themselves under either of these heads ; but , comparatively speak- ing , they are of ...
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... methods and those of the romantic drama controversy has raged with violence for fully three centuries . Upon Shake- speare , as the chief representative of the latter , the brunt of the attack almost from the outset has fallen ...
... methods and those of the romantic drama controversy has raged with violence for fully three centuries . Upon Shake- speare , as the chief representative of the latter , the brunt of the attack almost from the outset has fallen ...
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... methods employed by different dramatists , though this is a matter which falls legitimately within the province of the work , and is indeed essential to its completeness . No one , in fact , can write a treatise of this kind without ...
... methods employed by different dramatists , though this is a matter which falls legitimately within the province of the work , and is indeed essential to its completeness . No one , in fact , can write a treatise of this kind without ...
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... method of characterizing the two men had become the merest commonplace we find indicated by Pope in his epistle To Augustus , ' which came out a little less than a hundred years after the utterance of Denham that has just been given . 6 ...
... method of characterizing the two men had become the merest commonplace we find indicated by Pope in his epistle To Augustus , ' which came out a little less than a hundred years after the utterance of Denham that has just been given . 6 ...
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Common terms and phrases
absurd acted action admiration alteration ancient appeared Aristotle asserted audience belief Ben Jonson blank verse brought censure character Charles Gildon chorus classical classicists comedy comic conform consequence contemporaries controversy Coriolanus criticism Dennis disregard doctrine drama dramatist Dryden effect eighteenth century Elizabethan English stage Essay exhibited existed expressed fact faults favor feelings followed French Furthermore Garrick genius Gildon Greek Hamlet Henry Herringman humorous ignorance instance John Dryden Jonson Julius Cæsar later Lear literature London Macbeth matter modern moral nature never observe the unities opinion Othello passion period piece play playwrights plot poet poetic justice poetry practice preface Printed produced prologue propriety regard remarks representation represented Restoration Romeo and Juliet rules ryme Rymer scene Shake Shakespeare sort speare success taken taste theatre Theatre Royal things tion Titus Andronicus tragedy tragi-comedy tragic truth violation Voltaire words writer written wrote
Popular passages
Page 304 - In sooth, I know not why I am so sad : It wearies me ; you say it wearies you ; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn ; And such a want-wit sadness makes of me. That I have much ado to know myself.
Page 109 - THE stage is more beholding to love than the life of man. For as to the stage, love is ever matter of comedies, and now and then of tragedies ; but in life it doth much mischief — sometimes like a siren, sometimes like a fury.
Page 4 - Muses' anvil; turn the same (And himself with it) that he thinks to frame, Or, for the laurel, he may gain a scorn; For a good poet's made, as well as born.
Page 243 - But what we gained in skill we lost in strength. Our builders were with want of genius curst; The second temple was not like the first; Till you, the best Vitruvius, come at length, Our beauties equal, but excel our strength.
Page 294 - It was the lark, the herald of the morn, No nightingale : look, love, what envious streaks Do lace the severing clouds in yonder east. Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops : I must be gone and live, or stay and die.
Page 4 - 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 Who casts to write a living line, must sweat (Such as thine are) and strike the second heat Upon the Muses...
Page 21 - Now ye shall have three ladies walk to gather flowers, and then we must believe the stage to be a garden. By and by we hear news of shipwreck in the same place, and then we are to blame if we accept it not for a rock. Upon the back of that comes out a hideous monster, with fire and smoke, and then the miserable beholders are bound to take it for a cave. While in the meantime two armies fly in, represented with four swords and bucklers, and then what hard heart will not receive it for a pitched field...
Page 347 - As a general statement, this is quite true, and it is to be hoped that, as it has been in the past, so it will be in the future.
Page 31 - First, if it be objected, that what I publish is no true poem, in the strict laws of time, I confess it : as also in the want of a proper chorus ; whose habit and moods are such and so difficult, as not any, whom I have seen, since the ancients, no, not they who have most presently affected laws, have yet come in the way of.
Page 20 - For where the stage should always represent but one place, and the uttermost time presupposed in it should be, both by Aristotle's precept and common reason, but one day, there is both many days and places, inartificially [unskilfully] imagined.