Shakespeare as a Dramatic Artist: With an Account of His Reputation at Various PeriodsC. Scribner's Sons, 1901 - 449 pages |
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... questions at issue between what we now call the classical and romantic dramas . Strictly speaking , this should imply a consideration of the differences between the ancient and the modern stage , x GENERAL INTRODUCTION.
... questions at issue between what we now call the classical and romantic dramas . Strictly speaking , this should imply a consideration of the differences between the ancient and the modern stage , x GENERAL INTRODUCTION.
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... questions in dispute . It is right to give them , for they indicate to the reader the author's point of view . Still the expression of them here is inci- dental , not specifically designed . This is to say that the work is primarily a ...
... questions in dispute . It is right to give them , for they indicate to the reader the author's point of view . Still the expression of them here is inci- dental , not specifically designed . This is to say that the work is primarily a ...
Page 2
... question that , in asserting that the former writer's ease of composition was to the shame of slow- endeavoring art , the great Puritan poet had also the latter writer in mind . At any rate , as time went on , this distinction cropped ...
... question that , in asserting that the former writer's ease of composition was to the shame of slow- endeavoring art , the great Puritan poet had also the latter writer in mind . At any rate , as time went on , this distinction cropped ...
Page 3
... question was invariably answered in one way , and it was answered in a way that for generations profoundly influenced the estimate taken of Shakespeare as a dramatist . Let us , however , try first to ascertain what 3 THE DRAMATIC UNITIES.
... question was invariably answered in one way , and it was answered in a way that for generations profoundly influenced the estimate taken of Shakespeare as a dramatist . Let us , however , try first to ascertain what 3 THE DRAMATIC UNITIES.
Page 8
... questions . The one which has played far the most important part in the conflict has naturally the first claim to consideration . This is the doctrine of the unities . It is outside the design of this work to enter into any account of ...
... questions . The one which has played far the most important part in the conflict has naturally the first claim to consideration . This is the doctrine of the unities . It is outside the design of this work to enter into any account of ...
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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.