“The” Works of Shakespeare, Volumen33Methuen, 1904 |
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Página xiv
... Aaron- ( Garter , lines 409 , 410. ) Safe out of Fortune's shot , and sits aloft Advanced above pale Envy's threat'ning reach . ( Titus Andronicus , II . i . 2 , 3. ) The resemblance here is remarkably close ; at the same time there are ...
... Aaron- ( Garter , lines 409 , 410. ) Safe out of Fortune's shot , and sits aloft Advanced above pale Envy's threat'ning reach . ( Titus Andronicus , II . i . 2 , 3. ) The resemblance here is remarkably close ; at the same time there are ...
Página xxxi
... Aaron and his brother . But we have observed human nature but ill if we do not recognise the profound truth of Shakespeare's psychology here , in that sentiment is often but a thin mask worn by the sentimentalist to disguise from ...
... Aaron and his brother . But we have observed human nature but ill if we do not recognise the profound truth of Shakespeare's psychology here , in that sentiment is often but a thin mask worn by the sentimentalist to disguise from ...
Página xxxii
... Aaron , or rather , like the Semiramis to whom she was compared in the play , or Catherine of Russia , the slave of ... Aaron's soliloquy at the opening of the second Act , all the finest pieces of poetic rhetoric are assigned to her ...
... Aaron , or rather , like the Semiramis to whom she was compared in the play , or Catherine of Russia , the slave of ... Aaron's soliloquy at the opening of the second Act , all the finest pieces of poetic rhetoric are assigned to her ...
Página xxxvii
... Aaron , and Marcus seem to me , on the whole , higher than those of Titus . His speeches in his first interview with the ravished and mutilated Lavinia are an example of this . His elaborate and laboured comparisons between Lavinia and ...
... Aaron , and Marcus seem to me , on the whole , higher than those of Titus . His speeches in his first interview with the ravished and mutilated Lavinia are an example of this . His elaborate and laboured comparisons between Lavinia and ...
Página xxxix
... Aaron the Moor . Now , in the character of Aaron , Shakespeare seems to have made a great , if only partially successful , attempt to humanise the ordinary stage villain or monster , as then rendered , even by so great a man as Marlowe ...
... Aaron the Moor . Now , in the character of Aaron , Shakespeare seems to have made a great , if only partially successful , attempt to humanise the ordinary stage villain or monster , as then rendered , even by so great a man as Marlowe ...
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Términos y frases comunes
Aaron Alarbus Bassianus blood brother character Chaucer child Chiron clown Coriolanus Cymbeline death deed Demetrius Dict dost doth dramatic dramatist Elizabethan emperor empress Enter Exeunt eyes father favour friends gentle give Goths gracious Hamlet hand hath heart heaven Henry Henry VI honour horrible hunt Iago Julius Cæsar kill Lady Lavinia Lear live lord Love's Labour's Lost Lucius Lucrece lust Macbeth Marc Marcus Marlowe means modern Moor moral murder Mutius noble Othello passion Philomela play plot Publius queen Quint rape Ravenscroft repent revenge revolting Richard Richard III Roman Rome Rome's Romeo Romeo and Juliet Saturninus scene seems sense Shake Shakespeare Shakespeare's authorship Shakespearian Sonnets sons sorrow Spanish Tragedy speak speare speare's speech Steevens story sweet Tamora tears Tereus thee thine thou hast Titus Andronicus tongue tragedy tribunes verse villain word writing ΙΟ
Pasajes populares
Página xliv - Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O, no ! it is an ever-fixed mark, That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth's unknown, although his height be taken.