Shakespeare as a Dramatic Artist: A Popular Illustration of the Principles of Scientific Criticism |
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Page 12
... fate of Gray at the hands of Dr. Johnson , of Keats at the hands of monthly and Waverley quarterly reviewers , or of the various Waverley Novels capri- ciously selected by different critics as examples of literary suicide . But we have ...
... fate of Gray at the hands of Dr. Johnson , of Keats at the hands of monthly and Waverley quarterly reviewers , or of the various Waverley Novels capri- ciously selected by different critics as examples of literary suicide . But we have ...
Page 45
... fate in despair . But Nemesis , to the moral sense of antiquity , could go even beyond visitation on innocent prosperity , and goodness itself could be carried to a degree that invited divine reaction . Heroes like Lycurgus and Pentheus ...
... fate in despair . But Nemesis , to the moral sense of antiquity , could go even beyond visitation on innocent prosperity , and goodness itself could be carried to a degree that invited divine reaction . Heroes like Lycurgus and Pentheus ...
Page 49
... fate with which he replies we catch the tone of infatuated confidence , the hybris in which Greek superstition saw the signal for the descent of Nemesis . I am as like to call thee so again , To spit on thee again , to spurn thee too ...
... fate with which he replies we catch the tone of infatuated confidence , the hybris in which Greek superstition saw the signal for the descent of Nemesis . I am as like to call thee so again , To spit on thee again , to spurn thee too ...
Page 54
... fates is not to be found in the trains of reasoning of the lem : the they go through . As if to warn us against looking for it in 1 re- this direction , Shakespeare contrives that we never 54 THE MERCHANT OF VENICE .
... fates is not to be found in the trains of reasoning of the lem : the they go through . As if to warn us against looking for it in 1 re- this direction , Shakespeare contrives that we never 54 THE MERCHANT OF VENICE .
Page 55
... fates . presented as unable to bear the suspense of hearing him iii . ii , from deliberate , and calls for music to drown his meditations ; it is 43 ; esp . 61 . only the conclusion to which he has come that we catch as the music closes ...
... fates . presented as unable to bear the suspense of hearing him iii . ii , from deliberate , and calls for music to drown his meditations ; it is 43 ; esp . 61 . only the conclusion to which he has come that we catch as the music closes ...
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Common terms and phrases
analysis ancient Antonio appears artist Banquo Bassanio becomes Ben Jonson bond Brutus Brutus's Caskets Story Cassius centre CHAP character climax complexity conception conspirators Cordelia crime Destiny distinct dramatic effect dramatist element emotional Enveloping Action evil fall fate father feels Fleance Fool force give Gloucester Goneril House of York human idea incidents inductive criticism inner interest intrigue Irony Jessica Story judicial Julius Cæsar justice King King Lear Lady Macbeth Lear literary literature Macduff madness main plot ment Merchant of Venice mind modern moral Motion movement murder nature Nemesis Action oracle Oracular Action passion Passion-Movement personages play Poetic Justice Portia practical present purpose racter recognised Regan retribution Richard Richard III rise scene seen sense separate Shakespeare Shylock side spirit stage suggests supernatural sympathy thee thing thou thought tion tone tragedy train treatment turning-point underplot unity villainy whole Witches words
Popular passages
Page 153 - Upon the sightless couriers of the air, Shall blow the horrid deed in every eye, That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition, which o'erleaps itself And falls on the other.
Page 212 - Stain my man's cheeks !— No, you unnatural hags, I will have such revenges on you both, That all the world shall — I will do such things — What they are yet I know not ; but they shall be The terrors of the earth.
Page 48 - And spit upon my Jewish gaberdine, And all for use of that which is mine own. Well then, it now appears you need my help: Go to, then; you come to me, and you say 'Shylock, we would have moneys...
Page 163 - Infirm of purpose! Give me the daggers: the sleeping and the dead Are but as pictures: 'tis the eye of childhood That fears a painted devil. If he do bleed, I'll gild the faces of the grooms withal, For it must seem their guilt.
Page 60 - Nay, take my life and all ; pardon not that : You take my house, when you do take the prop That doth sustain my house ; you take my life, When you do take the means whereby I live.
Page 150 - Glamis thou art, and Cawdor; and shalt be What thou art promised: yet do I fear thy nature; It is too full o' the milk of human kindness To catch the nearest way : thou wouldst be great ; Art not without ambition, but without The illness should attend it: what thou wouldst highly, That wouldst thou holily ; wouldst not play false, And yet wouldst wrongly win: thou'dst have, great Glamis, That which cries ' Thus thou must do, if thou have it; And that which rather thou dost fear to do Than wishest...
Page 152 - tis done, then 'twere well It were done quickly : If the assassination Could trammel up the consequence, and catch, With his surcease, success ; that but this blow Might be the be-all and the end-all here, But here, upon this bank and shoal of time, — We'd jump the life to come.
Page 188 - If Caesar carelessly but nod on him. He had a fever when he was in Spain, And when the fit was on him, I did mark...
Page 144 - Yet he who reigns within himself, and rules Passions, desires, and fears, is more a king; Which every wise and virtuous man attains...
Page 138 - Why do the heathen rage, and the people imagine a vain thing? The kings of the earth set themselves, and the rulers take counsel together, against the Lord, and against his Anointed, saying, Let us break their bands asunder, and cast away their cords from us.