The British Plutarch: Containing the Lives of the Most Eminent Divines, Patriots, Statemen, Warriors, Philosophers, Poets, and Artists of Great Britain and Ireland, from the Accention of Henry VIII, to the Present Time, Volumen2J. Mawman, 1816 |
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Página 306
... comedy , he seems to repose or to luxuriate , as in a mode of thinking congenial to his nature . In his tragic scenes , there is always something wanting ; but his comedy often surpasses expectation , or desire . His comedy pleases by ...
... comedy , he seems to repose or to luxuriate , as in a mode of thinking congenial to his nature . In his tragic scenes , there is always something wanting ; but his comedy often surpasses expectation , or desire . His comedy pleases by ...
Página 316
... comedy is often more powerful on the theatre , than in the page : imperial tragedy is always less . The humour of Petruchio may be heightened by grimace ; but what voice , or what A gesture , can hope to add dignity or force to 316 ...
... comedy is often more powerful on the theatre , than in the page : imperial tragedy is always less . The humour of Petruchio may be heightened by grimace ; but what voice , or what A gesture , can hope to add dignity or force to 316 ...
Página 319
... Comedy . 1623 . 3. 4. The First and Second Parts of King Henry IV . 4to . 1599 , 1600 . 5. The Merry Wives of Windsor , a Comedy , written at the command of Queen Elizabeth . 6. Measure for Measure , † a Comedy . 1623 . 7. The Comedy of ...
... Comedy . 1623 . 3. 4. The First and Second Parts of King Henry IV . 4to . 1599 , 1600 . 5. The Merry Wives of Windsor , a Comedy , written at the command of Queen Elizabeth . 6. Measure for Measure , † a Comedy . 1623 . 7. The Comedy of ...
Página 320
... Comedy . 4to . 1600 . 9. Love's Labour's Lost , a Comedy . 4to . 1598 . 10. Midsummer Night's Dream , a Comedy . 4to . 1600 . 11. The Merchant of Venice , a Comedy . 4to . 1600 . 12. As You Like It , a Comedy . 1623 . 13. The Taming of ...
... Comedy . 4to . 1600 . 9. Love's Labour's Lost , a Comedy . 4to . 1598 . 10. Midsummer Night's Dream , a Comedy . 4to . 1600 . 11. The Merchant of Venice , a Comedy . 4to . 1600 . 12. As You Like It , a Comedy . 1623 . 13. The Taming of ...
Página 321
... Comedy . 39. The Life and Death of Thomas Lord Crom- well , the favourite of King Henry VIII . * 40 . The History of Sir John Oldcastle , the good Lord Cobham , a Tragedy . * 41 . The Puritan ; or , the Widow of Watling- street , a Comedy ...
... Comedy . 39. The Life and Death of Thomas Lord Crom- well , the favourite of King Henry VIII . * 40 . The History of Sir John Oldcastle , the good Lord Cobham , a Tragedy . * 41 . The Puritan ; or , the Widow of Watling- street , a Comedy ...
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Términos y frases comunes
Admiral afterward appears appointed Archbishop Bacon Ben Jonson Bishop Buckingham Camden cause Cecil character Coke Comedy command Council court crown death doth Drake Duke Duke of Anjou Earl of Essex Earl of Leicester embassador enemies England English father favour favourite fleet fortune France gave hand hath Hawkins heart Henry honour Ireland James Jonson judgement justice King King's lady learning letter likewise live Lord Burghley Lord High Admiral Lordships Majesty Majesty's matter ment mind nature never noble observes occasion parliament person Philip poet prince Queen of Scots received reign reputation royal says Scythians sent Shakspeare ships Sidney Sir Edward Coke Sir Francis Sir John Sir Philip Sidney Sir Robert Cecil Sir Walter Ralegh Sovereign Spain Spaniards Spanish Spenser spirit thee thing thou thought tion took unto virtue writings
Pasajes populares
Página 398 - Thy gowns, thy shoes, thy beds of roses, Thy cap, thy kirtle, and thy posies, Soon break, soon wither, soon forgotten,— In folly ripe, in reason rotten. Thy belt of straw and ivy buds, Thy coral clasps and amber studs,— All these in me no means can move To come to thee and be thy love.
Página 397 - And I will make thee beds of roses And a thousand fragrant posies, A cap of flowers, and a kirtle Embroidered all with leaves of myrtle.
Página 484 - But the images of men's wits and knowledges remain in books, exempted from the wrong of time, and capable of perpetual renovation. Neither are they fitly to be called images, because they generate still, and cast their seeds in the minds of others, provoking and causing infinite actions and opinions in succeeding ages...
Página 311 - A quibble is the golden apple for which he will always turn aside from his career, or stoop from his elevation. A quibble, poor and barren as it is, gave him such delight, that he was content to purchase it, by the sacrifice of reason, propriety, and truth. A quibble was to him the fatal Cleopatra for which he lost the world, and was content to lose it.
Página 305 - His characters are not modified by the customs of particular places, unpractised by the rest of the world ; by the peculiarities of studies or professions, which can operate but upon small numbers ; or by the accidents of transient fashions or temporary opinions...
Página 400 - Their purpose is ambition, Their practice, only hate ; And if they once reply, Then give them all the lie. Tell them that brave it most, They beg for more by spending Who in their greatest cost Seek nothing but commending ; And if they make reply, Spare not to give the lie.
Página 309 - It may be observed, that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and, in view of his reward, he shortened the labour to snatch the profit. He therefore remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.
Página 99 - We have been persuaded by some, that are careful of our safety, to take heed how we commit ourselves to armed multitudes for fear of treachery ; but, I assure you, I do not desire to live to distrust my faithful and loving people.
Página 316 - Imitations produce pain or pleasure, not because they are mistaken for realities, but because they bring realities to mind.
Página 314 - The objection arising from the impossibility of passing the first hour at Alexandria, and the next at Rome, supposes that when the play opens, the spectator really imagines himself at Alexandria, and believes that his walk to the theatre has been a voyage to Egypt, and that he lives in the days of Anthony and Cleopatra. Surely he that imagines this may imagine more.