Love's Labour's LostPenguin UK, 29.09.2005 г. - 288 страници A King and his lords form an austere academy, swearing to have no contact with women for three years. But when the Princess of neighbouring France arrives with her female attendants, their pledge is quickly placed under strain. Soon all are in smitten and confusion abounds, as each struggles to secretly declare his love in this comedy of deception, desire and mistaken identity. |
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... speech, more colloquial in diction, as in the speeches of the Nurse in Romeo and Juliet, the characterful prose of Falstaff and Hamlet's soliloquies. The effect is of increasing psychological realism, reaching its greatest heights in ...
... speech, more colloquial in diction, as in the speeches of the Nurse in Romeo and Juliet, the characterful prose of Falstaff and Hamlet's soliloquies. The effect is of increasing psychological realism, reaching its greatest heights in ...
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... speech, beginning 'If we shadows have offended' (V.1.413–28), registers as an apology both for the fairies and for the actors (often called 'shadows') who have played them. In The Tempest, drama is not so much magical as metaphysical ...
... speech, beginning 'If we shadows have offended' (V.1.413–28), registers as an apology both for the fairies and for the actors (often called 'shadows') who have played them. In The Tempest, drama is not so much magical as metaphysical ...
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... speeches in all Shakespeare (III.1.121–35) – and the murderer Barnardine. But Love's Labour's Lost engages with death so much more directly than even these plays that it has been suggested (wrongly, I think) that it cannot belong to the ...
... speeches in all Shakespeare (III.1.121–35) – and the murderer Barnardine. But Love's Labour's Lost engages with death so much more directly than even these plays that it has been suggested (wrongly, I think) that it cannot belong to the ...
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... Speech answers speech and character balances character. The grand design is held together by organized disagreement. Take the Princess's lines near the.
... Speech answers speech and character balances character. The grand design is held together by organized disagreement. Take the Princess's lines near the.
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... speech. The Princess did not hear Navarre's ringing oration; and her subject is in any case the death of a deer, not the mortality of man. But there is another sense – the dramatic one – in which her lines clamour to be read as an ...
... speech. The Princess did not hear Navarre's ringing oration; and her subject is in any case the death of a deer, not the mortality of man. But there is another sense – the dramatic one – in which her lines clamour to be read as an ...
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actors Aquitaine ARMADO audience bawdy BEROWNE Berowne’s BOYET braggart characters comedy comic compositor Costard cuckoo Cupid dance death doth Dull DUMAINE edition editors Elizabethan emendation Enter Exeunt Exit fair father favour fool forsworn foul papers France give goose grace hath hear heart heaven Hector Henry Hercules HOLOFERNES Holofernes’s honour horns Jaquenetta Judas Judas Maccabaeus Katharine King King Lear King’s l’envoy lady letter light Longaville lords Love’s Labour’s Lost lovers madam Marcade MARIA means Midsummer Night’s Dream mistress mock MOTE Mote’s Nathaniel Navarre Navarre’s night Nine Worthies o’er oath play play’s Pompey praise PRINCESS printed Q and F Q or F quibbling reading rhyme Romeo and Juliet Rosaline Rosaline’s scene school of night sense Shakespeare Shakespearian sing song Sonnets sore speech prefixes stage direction sweet theatre thee thou tongue visor wench woman women word