An Essay of Dramatic PoesyClarendon Press, 1889 - 141 páginas |
Dentro del libro
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Página xii
... by rejecting rhyme he avoids the danger of weakening that interest which should be excited by the plot and the characters . When such Shakspere in his best plays blank verse as the following can be had , no xii PREFACE .
... by rejecting rhyme he avoids the danger of weakening that interest which should be excited by the plot and the characters . When such Shakspere in his best plays blank verse as the following can be had , no xii PREFACE .
Página 27
... characters of the persons , and proceeds very little into any part of the action . Secondly , the Epitasis , or working up of the plot ; where the play grows warmer , the design or action of it is drawing on , and you see something 30 ...
... characters of the persons , and proceeds very little into any part of the action . Secondly , the Epitasis , or working up of the plot ; where the play grows warmer , the design or action of it is drawing on , and you see something 30 ...
Página 30
... characters of the persons . An old father , who would willingly , before he dies , see his son well married ; his de- bauched son , kind in his nature to his mistress 3 , but miserably in want of money ; a servant or slave , who 20 has ...
... characters of the persons . An old father , who would willingly , before he dies , see his son well married ; his de- bauched son , kind in his nature to his mistress 3 , but miserably in want of money ; a servant or slave , who 20 has ...
Página 31
... characters are indeed the imitation of nature , but so narrow , as if they had imitated only an eye or an hand , and did not dare to venture on the lines of a face , or the proportion of a body . 5 ' But in how strait a compass soever ...
... characters are indeed the imitation of nature , but so narrow , as if they had imitated only an eye or an hand , and did not dare to venture on the lines of a face , or the proportion of a body . 5 ' But in how strait a compass soever ...
Página 39
... character of a fanfaron or Hector : for with us the knight takes occasion to walk out , or sleep , to avoid the vanity of 20 telling his own story , which the trusty ' squire is ever to perform for him . So in their love - scenes , of ...
... character of a fanfaron or Hector : for with us the knight takes occasion to walk out , or sleep , to avoid the vanity of 20 telling his own story , which the trusty ' squire is ever to perform for him . So in their love - scenes , of ...
Otras ediciones - Ver todas
Términos y frases comunes
action admiration ancients answer appear argument Aristotle audience Beaumont beauty Ben Johnson Berkeley betwixt blank verse CALIFORNIA LIBRARY catachresis Catiline characters comedy commend compass contrived Corneille Corneille's Crites defence delight discourse drama Dramatic Poesy dramatick Dryden Duke of Lerma edition English errour ESSAY OF DRAMATIC Eugenius Euripides fancy farther favour Fletcher give Greek honour Horace humour imagine imitation of nature Indian Emperor Johnson judge judgment Julius Cæsar language Latin leave Lisideius Lord Buckhurst Maid's Tragedy Malone ment modern Neander nearest never observed opinion Ovid passions perfection persons plot poem poet prose prove reason represented rest rhyme rule scene Scornful Lady Sejanus Seneca serious plays Shakspeare shew Silent Woman Sir Robert Howard speak stage suppose Terence theatre thing thoughts tragedy truth twenty-four unity of place UNIVERSITY OF CALIFORNIA unnatural words writ writing
Pasajes populares
Página 67 - ... All the images of nature were still present to him, and he drew them not laboriously, but luckily; when he describes any thing, you more than see it, you feel it too. Those who accuse him to have wanted learning give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards, and found her there.
Página 136 - To make a child now swaddled; to proceed Man, and then shoot up, in one beard and weed, Past threescore years ; or, with three rusty swords, And help of some few foot and half-foot words, Fight over York and Lancaster's long jars, And in the tyring-house bring wounds to scars.
Página 67 - I cannot say he is everywhere alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid; his comic wit degenerating into clenches, his serious swelling into bombast. But he is always great when some great occasion is presented to him...
Página 70 - Catiline. But he has done his robberies so openly, that one may see he fears not to be taxed by any law. He invades authors like a monarch; and what would be theft in other poets is only victory in him.
Página 69 - As for Jonson, to whose character I am now arrived, if we look upon him while he was himself (for his last plays were but his dotages), I think him the most learned and judicious writer which any theatre ever had. He was a most severe judge of himself, as well as others. One cannot say he wanted wit, but rather that he was frugal of it.
Página 70 - But he has done his robberies so openly, that one may see he fears not to be taxed by any law. He invades authors like a monarch ; and what would be theft in other poets, is only victory in him. With the spoils of these writers he so represents old Rome to us, in its rites, ceremonies and customs, that if one of their poets had written either of his tragedies, we had seen less of it than in him.
Página 7 - The drift of the ensuing discourse was chiefly to vindicate the honour of our English writers from the censure of those who unjustly prefer the French before them. This I intimate, lest any should think me so exceeding vain as to teach others an art which they understand much better than myself.
Página 42 - The end of tragedies or serious plays, says Aristotle, is to beget admiration, compassion, or concernment; but are not mirth and compassion things incompatible ? and is it not evident that the poet must of necessity destroy the former by intermingling of the latter?
Página 17 - A JUST AND LIVELY IMAGE OF HUMAN NATURE, REPRESENTING ITS PASSIONS AND HUMOURS; AND THE CHANGES OF FORTUNE, TO WHICH IT IS SUBJECT: FOR THE DELIGHT AND INSTRUCTION OF MANKIND.
Página 68 - Jonson, never equalled them to him in their esteem: and in the last King's court, when Ben's reputation was at highest, Sir John Suckling, and with him the greater part of the courtiers, set our Shakespeare far above him.