The Critical Temper: From Milton to Romantic literature |
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Page 81
He does not very frequently permit long unbroken passages to creep into his scenes . More usually he allows one character to break into the conversation of the other . Stage business , too , which plays so important a part in his ...
He does not very frequently permit long unbroken passages to creep into his scenes . More usually he allows one character to break into the conversation of the other . Stage business , too , which plays so important a part in his ...
Page 205
In Tristram Shandy there are only two or three groups of scenes which are in any way comparable to the kind of time used in Tom Jones . . . . ( Such ] scenes do not occur in chronological order , and they are constantly interrupted as ...
In Tristram Shandy there are only two or three groups of scenes which are in any way comparable to the kind of time used in Tom Jones . . . . ( Such ] scenes do not occur in chronological order , and they are constantly interrupted as ...
Page 242
Only in this way can we explain the alternating of scenes handled in a spirit purely laughter - loving with scenes of violent rage against humanity . It is precisely this moral fury of Wycherley which is accountable for passages that ...
Only in this way can we explain the alternating of scenes handled in a spirit purely laughter - loving with scenes of violent rage against humanity . It is precisely this moral fury of Wycherley which is accountable for passages that ...
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Contents
William Cowper 17311800 | 41 |
David Garrick 17171779 | 80 |
Oliver Goldsmith 17301774 | 86 |
Copyright | |
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