Jahrbuch der Deutschen Shakespeare-Gesellschaft, Volúmenes52-53G. Reimer, 1916 |
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Términos y frases comunes
Answer Antonius Aufführung Aufzug Bedeutung beiden besonders Bild Sz bloß Boito Bühne Caesar Cassio Charakter Cleopatra Cressida Cymbeline damals Darstellung Desdemona deutschen Deutschen Shakespeare-Gesellschaft Dichter Dichtung Dramatiker Dramen Einfluß elisabethanischen England englischen erscheinen ersten Falstaff französischen Frau ganze Geist Geschichte Gestalt gewiß großen Hamlet Heinrich Heinrich IV heißt Helden Henry Islay Jago Jahre Jahrhunderts John John Kemble Jonson Julius Julius Caesar Kaufmann Kaufmann von Venedig Kemble King komischen König Lear könnte Krieg Kunst künstlerischen Lady lassen läßt Leben letzten lichen Liebe ließ London Macbeth manche Maß meisten Menschen Musik muß Namen neue O'Conor Othello Personen Question recht Renaissance Richard Richard III Romeo sagt Schauspieler Schlegel schließlich schließt Schluß Shake Shakespeare Shakespeare's Shakespeareschen Shaw Shaws Sommernachtstraum speare spielen Sprache Stadttheater stark Stelle Stück Szene Teil Theater tragische Tragödie Troilus Troilus und Cressida unserer Verdis viel Volk Vorhang Weimar weiß Welt wenig Werke wieder wirklich wohl wollt Wort zwei zweiten
Pasajes populares
Página 89 - This is the true joy in life, the being used for a purpose recognized by yourself as a mighty one; the being thoroughly worn out before you are thrown on the scrap heap; the being a force of Nature instead of a feverish selfish little clod of ailments and grievances complaining that the world will not devote itself to making you happy.
Página 112 - He sacrifices virtue to convenience, and is so much more careful to please than to instruct, that he seems to write without any moral purpose.
Página 103 - But these are all lies : men have died from time to time and worms have eaten them, but not for love.
Página 87 - I read Dickens and Shakespear without shame or stint; but their pregnant observations and demonstrations of life are not co-ordinated into any philosophy or religion...
Página 90 - brief candle" to me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.
Página 89 - Now you cannot say this of the works of the artist-philosophers. You cannot say it, for instance, of The Pilgrim's Progress. Put your Shakespearian hero and coward, Henry V and Pistol or Parolles, beside Mr Valiant and Mr Fearing, and you have a sudden revelation of the abyss that lies between the fashionable author who could see nothing in the world but personal aims and the tragedy of their disappointment or the comedy of their incongruity, and the field preacher who achieved virtue and courage...
Página 102 - Mariana; but in every case the relation between the woman and the man is the same: she is the pursuer and contriver, he the pursued and disposed of. When she is baffled, like Ophelia, she goes mad and commits suicide; and the man goes straight from her funeral to a fencing match.
Página 125 - What I mean by classical is that he can present a dramatic hero as a man whose passions are those which have produced the philosophy, the poetry, the art, and the statecraft of the world, and not merely those which have produced its weddings, coroners
Página 207 - ... this goodly frame, the earth, a steril promontory, and this brave o'er-hanging firmament, the air, this majestical roof fretted with golden fire...
Página 126 - The old demand for the incredible, the impossible, the superhuman, which was supplied by bombast, inflation, and the piling of crimes on catastrophes and factitious raptures on artificial agonies, has fallen off; and the demand now is for heroes in whom we can recognize our own humanity, and who, instead of walking, talking, eating, drinking, sleeping, making love and fighting single combats in a monotonous ecstasy of continuous heroism, are heroic in the true human fashion: that is, touching the...