The Art of the Drama |
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Page 172
... Shakespeare , Racine , and Ibsen . Shakespeare includes more in his schemes than the two latter , and in consequence , whilst his texture is always , or nearly always , perfectly dramatic , his design includes luxurious outgrowths ...
... Shakespeare , Racine , and Ibsen . Shakespeare includes more in his schemes than the two latter , and in consequence , whilst his texture is always , or nearly always , perfectly dramatic , his design includes luxurious outgrowths ...
Page 184
... Shakespeare is pre - eminent because he had the greatest range of psychology and situation at his command . Since the eighteenth century it has been a commonplace of Shakespearian commentary that in his power to create living characters ...
... Shakespeare is pre - eminent because he had the greatest range of psychology and situation at his command . Since the eighteenth century it has been a commonplace of Shakespearian commentary that in his power to create living characters ...
Page 200
... Shakespeare and Renaissance drama generally , conforms with the humanistic interest in human and natural truth ... Shakespeare's own . Macbeth himself , although not savage , is at least no philosopher- king or sophisticated Renaissance ...
... Shakespeare and Renaissance drama generally , conforms with the humanistic interest in human and natural truth ... Shakespeare's own . Macbeth himself , although not savage , is at least no philosopher- king or sophisticated Renaissance ...
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abstract achieved action actor aesthetic Antony and Cleopatra artist aspects auditory auditory imagery beautiful blank verse century chapter character comedy comic complex composition connexion context décor dialogue drama dramatic form dramatist elements emotional epic poetry evocation example experience expressive formula-images feeling function gesture human Ibsen idea ideal imagery images imagination implicit intense interfusion kind language Les Parents Terribles lyric lyric poetry Macbeth Mallarmé meaning meditation medium metaphor moral myth narrative nature Novalis objects observe Othello particular pattern persons play plot poem poésie poet poetic poetry precise principle problem prose psychological realism reality relation representational representational art rhythm romantic romantic poetry romanticism scene sense sensuous Shakespeare simple situation social song sonnet Sophocles sound speech style symbolic symbolist texture theatre theatrical themes theory things thought tion tragedy tragic types unity varied verbal verse vision visual vivid voice whilst whole words