Poetry Direct and ObliqueChatto & Windus, 1934 - 286 páginas |
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Página 41
... Shakespeare's imagery in his late tragic period was due to one or more experi- ences of that sort . The trouble with such explana- tions is that they do not correspond to the dominant feelings aroused in readers sensitive to poetry : to ...
... Shakespeare's imagery in his late tragic period was due to one or more experi- ences of that sort . The trouble with such explana- tions is that they do not correspond to the dominant feelings aroused in readers sensitive to poetry : to ...
Página 226
... Shakespeare is more ' inward ' than Aeschylus . But besides being a greater dramatist than the Greeks , Shakespeare shows the road to dramatic progress , which of course is from the external to the inward . There is much in Shakespeare ...
... Shakespeare is more ' inward ' than Aeschylus . But besides being a greater dramatist than the Greeks , Shakespeare shows the road to dramatic progress , which of course is from the external to the inward . There is much in Shakespeare ...
Página 238
... Shakespeare's . He assumes that Shakespeare , in creating character , always had direct standards in his mind ( in addition to any possible others ) . But that does not mean either that Bradley considered character - analysis the end of ...
... Shakespeare's . He assumes that Shakespeare , in creating character , always had direct standards in his mind ( in addition to any possible others ) . But that does not mean either that Bradley considered character - analysis the end of ...
Contenido
Preliminary | 3 |
Preliminary | 67 |
Disguised Statement | 129 |
Derechos de autor | |
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Términos y frases comunes
accepted actual Aeschylus allegory allusion appearance become beginning better Blake century chapter character Chaucer common commonplace comparison contrast create criticism deal describing direct Dryden effect eighteenth century English entirely example exist experience express fact feel follow function give granted hand human idea imagination important instance interest kind least less lines literature living look matter meaning melancholy ment Milton mind mythology nature never nineteenth century obliquity once passage passions perfect permanent play plot poem poet poetical poetry of statement possible Prometheus pure qualities question reader reason reference rhetoric rhythm sense sensibility Shelley significance simple social song soul sound speak standards suggest symbolism things thought tion to-day tradition true turn verse virtue whole writing