Shakespeare as a Dramatic Artist: A Popular Illustration of the Principles of Scientific Criticism |
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Page vi
... literary character- istics or dramatic effect is out of place in an educational work - is , indeed , too ' indefinite ' to be examined on . ' Ten years ' experience in connection with the Cambridge Univer- sity Extension , during which ...
... literary character- istics or dramatic effect is out of place in an educational work - is , indeed , too ' indefinite ' to be examined on . ' Ten years ' experience in connection with the Cambridge Univer- sity Extension , during which ...
Page vii
... , I have discussed the work in all its stages , and have been under continual obligation to his stores of knowledge and critical grasp in all departments of literary study . I cannot even attempt to name PREFACE . vii.
... , I have discussed the work in all its stages , and have been under continual obligation to his stores of knowledge and critical grasp in all departments of literary study . I cannot even attempt to name PREFACE . vii.
Page viii
A Popular Illustration of the Principles of Scientific Criticism Richard Green Moulton. of literary study . I cannot even attempt to name the many friends - chiefly fellow - workers in the University Extension Movement - through whose ...
A Popular Illustration of the Principles of Scientific Criticism Richard Green Moulton. of literary study . I cannot even attempt to name the many friends - chiefly fellow - workers in the University Extension Movement - through whose ...
Page ix
... LITERARY CRITICISM . PART FIRST . SHAKESPEARE CONSIDERED AS A DRAMATIC ARTIST , IN TEN STUDIES . THE TWO STORIES I. SHAKESPEARE BORROWS FOR HIS MERCHANT OF VENICE . ' A Study in the Raw Material of the Romantic Drama - II . HOW ...
... LITERARY CRITICISM . PART FIRST . SHAKESPEARE CONSIDERED AS A DRAMATIC ARTIST , IN TEN STUDIES . THE TWO STORIES I. SHAKESPEARE BORROWS FOR HIS MERCHANT OF VENICE . ' A Study in the Raw Material of the Romantic Drama - II . HOW ...
Page x
... INDUCTIVE SCIENCE . XI . TOPICS OF DRAMATIC CRITICISM 227 XII . INTEREST OF CHARACTER 237 XIII . INTEREST OF PASSION 246 XIV . INTEREST OF PLOT 268 INTRODUCTION . PLEA FOR AN INDUCTIVE SCIENCE OF LITERARY CRITICISM X CONTENTS .
... INDUCTIVE SCIENCE . XI . TOPICS OF DRAMATIC CRITICISM 227 XII . INTEREST OF CHARACTER 237 XIII . INTEREST OF PASSION 246 XIV . INTEREST OF PLOT 268 INTRODUCTION . PLEA FOR AN INDUCTIVE SCIENCE OF LITERARY CRITICISM X CONTENTS .
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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.