Johnson on Shakespeare: Essays and NotesH. Frowde, 1908 - 206 páginas |
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Página v
... The Comedy of Errors Much Ado about Nothing . All's Well that Ends Well . King John . Richard II . • 89 • 91 · 93 · 95 · 97 · · 97 • 99 · 103 110 · The First Part of King Henry IV · 113 NOTES ON THE PLAYS ( continued ) : The Second.
... The Comedy of Errors Much Ado about Nothing . All's Well that Ends Well . King John . Richard II . • 89 • 91 · 93 · 95 · 97 · · 97 • 99 · 103 110 · The First Part of King Henry IV · 113 NOTES ON THE PLAYS ( continued ) : The Second.
Página vi
Essays and Notes Samuel Johnson. NOTES ON THE PLAYS ( continued ) : The Second Part of King Henry IV . The Life of King Henry V • · The First Part of King Henry VI The Second Part of King Henry VI . The Third Part of King Henry VI ...
Essays and Notes Samuel Johnson. NOTES ON THE PLAYS ( continued ) : The Second Part of King Henry IV . The Life of King Henry V • · The First Part of King Henry VI The Second Part of King Henry VI . The Third Part of King Henry VI ...
Página 2
... continued in manuscript : no other transcribers were likely to be so little qualified for their task as those who copied for the stage , at a time when the lower ranks of the people were universally illiterate : no other editions were ...
... continued in manuscript : no other transcribers were likely to be so little qualified for their task as those who copied for the stage , at a time when the lower ranks of the people were universally illiterate : no other editions were ...
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... continued by those , who , being able to add nothing to truth , hope for eminence from the heresies of paradox ; or those , who , being forced by disappoint- ment upon consolatory expedients , are willing to hope from posterity what the ...
... continued by those , who , being able to add nothing to truth , hope for eminence from the heresies of paradox ; or those , who , being forced by disappoint- ment upon consolatory expedients , are willing to hope from posterity what the ...
Página 11
... continued , may yet be only the approbation of prejudice or fashion ; it is proper to inquire , by what peculiarities of excel- lence Shakespeare has gained and kept the favour of his countrymen . Nothing can please many , and please ...
... continued , may yet be only the approbation of prejudice or fashion ; it is proper to inquire , by what peculiarities of excel- lence Shakespeare has gained and kept the favour of his countrymen . Nothing can please many , and please ...
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action allusions ancient Atalanta audience authour balves beauty Boswell Caliban censure character comedy comick common conjecture considered copies corrupt criticism criticks delight dialogue diction dignity diligence discover doth drama dramatick easily edition editor elegance emendation endeavoured English Euripides excellence exhibited expression Falstaff faults foll genius Guy of Warwick Hamlet Henry VI honour HORACE HART human imagination imitation incidents Johnson KING HENRY knowledge labour language learned Macbeth meaning merriment mind nature never notes numbers obscure observed opinion Othello passages passions perform perhaps Plautus play pleasure poet Pope praise prince produce publick reader reason remarks Richard ridicule says SCENE iv SCENE viii seems sense sentiment Shakespeare Shakespeare's editors shew sometimes speech stage story sufficient suppose Tatler testimony of equal Theobald things thou thought tion tragedy truth virtue Voltaire Warburton William Shakespeare words writers
Passagens conhecidas
Página 11 - Nothing can please many, and please long, but just representations of general nature. Particular manners can be known to few, and therefore few only can judge how nearly they are copied. The irregular combinations of fanciful invention may delight awhile, by that novelty of which the common satiety of life sends us all in quest; but the pleasures of sudden wonder are soon exhausted, and the mind can only repose on the stability of truth.
Página 28 - If there be any fallacy, it is not that we fancy the players, but that we fancy ourselves, unhappy for a moment ; but we rather lament the possibility than suppose the presence of misery, as a mother weeps over her babe when she remembers that death may take it from her. The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and treasons real they would please no more.
Página 14 - This therefore is the praise of Shakespeare, that his drama is the mirror of life ; that he who has mazed his imagination, in following the phantoms which other writers raise up before him, may here be cured of his delirious ecstasies, by reading human sentiments in human language ; by scenes from which a hermit may estimate the transactions of the world, and a confessor predict the progress of the passions.
Página 15 - Shakespeare's plays are not in the rigorous and critical sense either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublunary nature, which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination ; and expressing the course of the world, in which the loss of one is the gain of another; in which, at the same time, the reveller is hasting to his wine, and the mourner burying his friend...
Página 62 - To begin, then, with Shakespeare. He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul. All the images of Nature were still present to him, and he drew them, not laboriously, but luckily; when he describes any thing, you more than see it, you feel it too.
Página 13 - The theatre, when it is under any other direction, is peopled by such characters as were never seen, conversing in a language which was never heard, upon topics which will never arise in the commerce of mankind. But the dialogue of this author is often so evidently determined by the incident which produces it, and is pursued with so much ease and simplicity that it seems scarcely to claim the merit of fiction, but to have been gleaned by diligent selection out of common conversation, and common occurrences.
Página 11 - Shakespeare is above all writers, at least above all modern writers, the poet of Nature; the poet that holds up to his readers a faithful mirror of manners and of life.
Página 62 - ... you more than see it, you feel it too. Those who accuse him to have wanted learning give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards and found her there. I cannot say he is everywhere alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid, his comic wit degenerating into clenches, his serious swelling into bombast But he is always great when some great...
Página 19 - The force of his comic scenes has suffered little diminution from the changes made by a century and a half, in manners or in words. As his personages act upon principles arising from genuine passion, very little modified by particular forms, their pleasures and vexations are communicable to all times and to all places ; they are natural, and therefore durable...
Página 171 - All things are hush'd as Nature's self lay dead, " The mountains seem to nod their drowsy head; " The little birds in dreams their songs repeat, " And sleeping flow'rs beneath the night dews sweat.