HamletPenguin UK, 7. 4. 2005. - 400 страница 'The Mona Lisa of literature' T. S. Eliot |
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... Never shackled by convention, he offered his actors the alternation between serious and comic modes from play to play, and often also within the plays themselves, that the repertory system within which he worked demanded, and which ...
... Never shackled by convention, he offered his actors the alternation between serious and comic modes from play to play, and often also within the plays themselves, that the repertory system within which he worked demanded, and which ...
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... never have read him. They have inspired composers of songs, orchestral music and operas; painters and sculptors; poets, novelists and film-makers. Allusions to him appear in pop songs, in advertisements and in television shows. Some of ...
... never have read him. They have inspired composers of songs, orchestral music and operas; painters and sculptors; poets, novelists and film-makers. Allusions to him appear in pop songs, in advertisements and in television shows. Some of ...
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... patience: God's is the quarrel; for God's substitute, His deputy anointed in His sight, Hath caused his death; the which if wrongfully, Let heaven revenge, for I may never lift An angry arm against His minister. (I.2.37–41) In Richard II.
... patience: God's is the quarrel; for God's substitute, His deputy anointed in His sight, Hath caused his death; the which if wrongfully, Let heaven revenge, for I may never lift An angry arm against His minister. (I.2.37–41) In Richard II.
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... never repine. Hamlet is aware of this idealistic vision of man, but it no longer works for him: What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how ...
... never repine. Hamlet is aware of this idealistic vision of man, but it no longer works for him: What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how ...
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... never lost, was, after Ophelia's apparent rejection of him, mingled with suspicion and resentment, and that his treatment of her was due in part to this cause'. The main evidence to the contrary is Hamlet jumping into the grave of ...
... never lost, was, after Ophelia's apparent rejection of him, mingled with suspicion and resentment, and that his treatment of her was due in part to this cause'. The main evidence to the contrary is Hamlet jumping into the grave of ...
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action actor audience BARNARDO behaviour blood character Christian Claudius Claudius’s Danish dead dear Denmark doth e’en Elizabethan England Enter Hamlet Enter the King Exeunt Exit eyes F reads father fear Fortinbras friends gentleman Gertrude Ghost give God’s hast hath hear heart heaven honour in’t is’t Jephthah judgement Julius Caesar killed King and Queen King Claudius King Hamlet King of Denmark King’s Laertes Laertes’s look madness MARCELLUS marriage means misogyny mother murder nature night Norway o’er Ophelia OSRICK Paul Prescott performance perhaps phrase play play’s PLAYER poison Pollax Polonius Polonius’s pray Presumably Prince Prince Hamlet probably Pyrrhus Q2 and F Q2 reads Quarto rapiers revenge REYNALDO Richard II Rosencrantz and Guildenstern scene SECOND CLOWN seems sense Shakespeare soliloquy soul speak speech sweet sword tell theatre thee There’s thou thoughts tragedy Trumpets Voltemand what’s word