Shifting Perspectives and the Stylish Style: Mannerism in Shakespeare and His Jacobean ContemporariesUniversity of Toronto Press, 1988 - 227 páginas |
Dentro del libro
Resultados 1-3 de 48
Página 32
... lines , with due shadowing , according to the rule of the eye , worketh by falsehood to express truth in very cunning of line and true observa- tion of shadowing - especially in human shapes , as the figure lieth , boweth , or standeth ...
... lines , with due shadowing , according to the rule of the eye , worketh by falsehood to express truth in very cunning of line and true observa- tion of shadowing - especially in human shapes , as the figure lieth , boweth , or standeth ...
Página 110
... lines to describe to himself and to the audience what both can see very well is the mutilated body of Lavinia ( II ... line upon line of clever alliterations and picturesque adjectival passages . The expression given Imogen is spare and ...
... lines to describe to himself and to the audience what both can see very well is the mutilated body of Lavinia ( II ... line upon line of clever alliterations and picturesque adjectival passages . The expression given Imogen is spare and ...
Página 181
... line 66 to line 87 in this scene is but two sentences with endless stops and starts , exclamations , and participial clauses . Between lines 77 and 85 , for instance , the prin- cipal clause is Thy false uncle - ... set all hearts i ...
... line 66 to line 87 in this scene is but two sentences with endless stops and starts , exclamations , and participial clauses . Between lines 77 and 85 , for instance , the prin- cipal clause is Thy false uncle - ... set all hearts i ...
Contenido
CHAPTER I | 19 |
ON UNPREDICTABILITY AND NONCLASSICAL UNITY | 97 |
CHAPTER IV | 118 |
Derechos de autor | |
Otras 5 secciones no mostradas
Términos y frases comunes
action actor allow Antony appears Architecture artificial artistic aspect audience awareness becomes calls character clearly comedy continual contrast conventional court death describes device disguise double drama dramatist dream Duke earlier effect Elizabethan English evidence expression fact false figure final fool further Giulio given gives hand Hermione hero illusion imagination instance interest Italian Italy Jacobean John Jones kind King later Leontes less Lives London look Lord Mannerism mannerist Marston masque means Measure merely metaphor mocks moral nature opening painter painting perspective picture play play's playwright plot present reality refers relation relationship remarkable Renaissance result reveals revenge role romance satiric says scene seems sense Shakespeare shift similar simultaneously speak speech Sprecher stage stand style suggests Tale theatre theatrical things thou tragedy truth turns University Press vision Winter's