A Student's History of English LiteratureHoughton, Mifflin, 1902 - 483 páginas |
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Página 38
... CLASSIC . CELTIC . Hindoo . Persian . Greek . Roman . British . Cymric . Breton . Gallic . Irish . Gaelic . Scotch . Old English ( Anglo - Saxon ) . Middle English . West Germanic . TEUTONIC . Old Old High Saxon . German . Gothic ...
... CLASSIC . CELTIC . Hindoo . Persian . Greek . Roman . British . Cymric . Breton . Gallic . Irish . Gaelic . Scotch . Old English ( Anglo - Saxon ) . Middle English . West Germanic . TEUTONIC . Old Old High Saxon . German . Gothic ...
Página 40
... Classics ( Section I. Old English Literature ) , now in preparation ( Heath ) , Edward Miles Brown , general editor . The History of the English Language , by O. F. Emer- son ( Macmillan ) , and T. R. Lounsbury's History of the English ...
... Classics ( Section I. Old English Literature ) , now in preparation ( Heath ) , Edward Miles Brown , general editor . The History of the English Language , by O. F. Emer- son ( Macmillan ) , and T. R. Lounsbury's History of the English ...
Página 83
... classic age and taught that literature in the schools of Padua , Bologna , Venice , and Florence . This Revival of Letters was stimulated by the fall of Constantinople in 1453 , which sent swarms of Greek scholars westward into Europe ...
... classic age and taught that literature in the schools of Padua , Bologna , Venice , and Florence . This Revival of Letters was stimulated by the fall of Constantinople in 1453 , which sent swarms of Greek scholars westward into Europe ...
Página 108
... and origins of all this activity in dramatic composition which so distinguishes the Elizabethan age . BEGINNINGS OF THE DRAMA 109 The beginnings of classic drama 108 FROM CHAUCER TO SHAKESPEARE Development of the English Drama •
... and origins of all this activity in dramatic composition which so distinguishes the Elizabethan age . BEGINNINGS OF THE DRAMA 109 The beginnings of classic drama 108 FROM CHAUCER TO SHAKESPEARE Development of the English Drama •
Página 109
William Edward Simonds. BEGINNINGS OF THE DRAMA 109 The beginnings of classic drama were in religious rites ; the origin of the modern theatre , also , Begin- was in the attempt to impress religious truth nings . upon the people ...
William Edward Simonds. BEGINNINGS OF THE DRAMA 109 The beginnings of classic drama were in religious rites ; the origin of the modern theatre , also , Begin- was in the attempt to impress religious truth nings . upon the people ...
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Términos y frases comunes
Addison Alfred Anglo-Saxon appeared Bacon beauty became Ben Jonson Beowulf Byron Cædmon Canterbury Tales career Carlyle century character Charles Charles Lamb Chaucer Church classic Coleridge comedies composition criticism Cynewulf death drama Dryden edited England epic essays euphuism expression fame famous fiction Francis Bacon friends genius Geoffrey Chaucer Ginn Hamlet Henry hero honor humor influence interest Ivanhoe John John Bunyan John Dryden John Ruskin Johnson Julius Cæsar King Lamb later Latin lines lish literary lived London Lord Macaulay ment Milton moral narrative nature novel novelist Paracelsus passages passion period plays poem poet poet's poetry Pope Pope's prose published Puritan Quincey romance Ruskin satire Saxon scene Scott Shakespeare Shelley song spirit stanza story student style SUGGESTIONS FOR STUDY Swift Tatler Tennyson Thomas tion translation verse volume Widsith William Shakespeare Wordsworth writer wrote
Pasajes populares
Página 313 - Guid faith he mauna fa' that. For a' that, and a' that, Their dignities, and a' that ; The pith o' sense, and pride o' worth, Are higher rank than a that. Then let us pray that come it may, As come it will for a' that ; That sense and worth, o'er a' the earth, May bear the gree, and a' that. For a
Página 204 - Her finger was so small, the ring, Would not stay on, which they did bring, It was too wide a peck: And to say truth (for out it must) It looked like the great collar (just) About our young colt's neck. Her feet beneath her petticoat, Like little mice, stole in and out, As if they fear'd the light: But O she dances such a way!
Página 287 - Is not a Patron, my Lord, one who looks with unconcern on a man struggling for life in the water, and when he has reached ground, encumbers him with help...
Página 121 - Piece out our imperfections with your thoughts ; Into a thousand parts divide one man, And make imaginary puissance ; Think, when we talk of horses, that you see them Printing their proud hoofs i...
Página 452 - FLOWER in the crannied wall, I pluck you out of the crannies, I hold you here, root and all, in my hand, Little flower — but if I could understand What you are, root and all, and all in all, I should know what God and man is.
Página 120 - On this unworthy scaffold to bring forth So great an object; can this cockpit hold The vasty fields of France? or may we cram Within this wooden O the very casques That did affright the air at Agincourt?
Página 197 - Alas ! what boots it with uncessant care To tend the homely, slighted, shepherd's trade, And strictly meditate the thankless Muse ? Were it not better done, as others use, To sport with Amaryllis in the shade, Or with the tangles of Neaera's hair...
Página 145 - The web of our life is of a mingled yarn, good and ill together : our virtues would be proud if our faults whipped them not; and our crimes would despair if they were not cherished by our virtues.
Página 456 - Love took up the harp of Life, and smote on all the chords with might; Smote the chord of Self, that, trembling, pass'd in music out of sight.
Página 205 - Tell me not, Sweet, I am unkind That from the nunnery Of thy chaste breast and quiet mind, To war and arms I fly. True, a new mistress now I chase, The first foe in the field; And with a stronger faith embrace A sword, a horse, a shield. Yet this inconstancy is such As you too shall adore; I could not love thee, dear, so much, Loved I not honour more.