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ähnlich alten Antonius Arbeit Aufführung Augen Ausdruck äußeren Bedeutung beiden Berlin besonders Bild Bühne Caesar Charakter Cleopatra damals Darstellung deutschen Dichter Dramatiker Dramen drei eigenen einige einmal England englischen erscheinen ersten Fall Falstaff fast finden Form Frage französischen Frau ganze geben Gegensatz geht Geist gerade Geschichte Gestalt gibt gleich großen Hamlet Hand Heinrich Helden heute höchst Höhe Jago Jahre Jahrhunderts John jungen kleinen kommt König könnte Kraft Krieg Kunst kurz Land lange lassen läßt Lear Leben leicht letzten lichen Liebe London Macbeth machen macht manche Mann meisten Menschen Mittelalter muß mußte nahe Namen natürlich neue Othello Personen recht Rede reichen Richard Rolle Romeo sagt Schauspieler scheint sehen Shake Shakespeare Shaw Shaws Sinn soll später speare spielen Sprache stark steht Stelle Stück Szene Teil Theater tief unserer viel vielleicht Volk voll weiter Welt wenig Werke wichtig wieder Wien wirklich Wirkung wohl wollt Wort zwei zweiten
Page 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.
Page 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.
Page 103 - But these are all lies : men have died from time to time and worms have eaten them, but not for love.
Page 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...
Page 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.
Page 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...
Page 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.
Page 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
Page 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...
Page 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...