Journal of Comparative Literature, Volume 1McClure, Phillips & Company, 1903 - 394 pages |
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... Molière en Italie • 324 • 47 · 67 , 229 , 336 · 345 TOYNBEE , P. English Translations from Dante ( Four- teenth to Seventeenth Centuries ) . NOTES BAKER , G. P. A New Source of The Changeling KERR , W. A. R. A New Rabelais Society and ...
... Molière en Italie • 324 • 47 · 67 , 229 , 336 · 345 TOYNBEE , P. English Translations from Dante ( Four- teenth to Seventeenth Centuries ) . NOTES BAKER , G. P. A New Source of The Changeling KERR , W. A. R. A New Rabelais Society and ...
Page 1
... Molière en Italie By Pietro Toldo of the University of Turin Notes I. Un Passo Oscuro di G. Chaucer By Francesco Torraca , Professor in the University of Naples II . Di alcuni punti di somiglianza fra la Poesia persiana e la nostra del ...
... Molière en Italie By Pietro Toldo of the University of Turin Notes I. Un Passo Oscuro di G. Chaucer By Francesco Torraca , Professor in the University of Naples II . Di alcuni punti di somiglianza fra la Poesia persiana e la nostra del ...
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... profecto ut ludibrio ut despectui omnibus sim oppositus ut semper miser de- fleam casus et fortunam meam . Molière en Italie pour Servir à l'Histoire de son Influence [ 65 ] Unpublished Letters of an English Humanist ,,
... profecto ut ludibrio ut despectui omnibus sim oppositus ut semper miser de- fleam casus et fortunam meam . Molière en Italie pour Servir à l'Histoire de son Influence [ 65 ] Unpublished Letters of an English Humanist ,,
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Molière en Italie pour Servir à l'Histoire de son Influence Par Pietro Toldo de l'Université de Turin 1 Cfr . dans la Revue d'histoire littéraire de la France , mon étude sur " Le Théâtre français de la Renaissance , " 1897-1899 ...
Molière en Italie pour Servir à l'Histoire de son Influence Par Pietro Toldo de l'Université de Turin 1 Cfr . dans la Revue d'histoire littéraire de la France , mon étude sur " Le Théâtre français de la Renaissance , " 1897-1899 ...
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... Molière , on prône sa valeur , mais on ne trouve nulle part l'empreinte de son gé- nie . Le procédé suivi par ce servile pecus sert justement de contrepried à celui de Molière , car tandis que celui - ci du type conventionnel de la ...
... Molière , on prône sa valeur , mais on ne trouve nulle part l'empreinte de son gé- nie . Le procédé suivi par ce servile pecus sert justement de contrepried à celui de Molière , car tandis que celui - ci du type conventionnel de la ...
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Expressions et termes fréquents
Abel Alamanni amoureux Arlequin assez autre avait Bayle bien c'est Cain caractère century Chaucer Chiarini comédie Comparative Literature court criticism d'autres d'une Dante déclare deux doit donne drama Enfin England English être Études fait Farinelli faut femme français France French Goldoni Guido House of Fame Huguenots ideals imitation influence Italian Italy J. B. FLETCHER jeune fille jeune homme Jurieu King l'école l'on la Nonne sanglante Latin letters Lewis literary littéraire littérature livre maître malade mari mariage médecin ment Moine Molière n'est nonne Paris père peut pièce Platonic love poem poet pré Précieuses première qu'elle qu'il qu'on qu'un quam quelques quod rappelle refugees Revue rien Roman savantes scène servant seul Sganarelle siècle signor soul sous Spanish sujet teatro temps théâtre théâtre français tion titre tour tout Towneley tragedy translation valet Verfasser veut W. W. Greg
Fréquemment cités
Page 356 - AH, Constantine, of how much ill was cause, Not thy conversion, but those rich domains That the first wealthy pope receiv'd of thee ! FROM DANTE.
Page 131 - So must pure lovers' souls descend To affections, and to faculties, Which sense may reach and apprehend, Else a great Prince in prison lies. To our bodies turn we then, that so Weak men on love revealed may look; Love's mysteries in souls do grow, But yet the body is his book, And if some lover, such as we, Have heard this dialogue of one, Let him still mark us, he shall see Small change, when we're to bodies gone.
Page 111 - I will now, in good sooth, declare to you, who will not blab, that the gunpowder fright is got out of all our heads, and we are going on, hereabouts, as if the devil was contriving every man should blow up himself, by wild riot, excess, and devastation of time and temperance.
Page 312 - I faulted; for should a man present to such an auditory the most sententious tragedy that ever was written, observing all the critical laws, as height of style and gravity of person...
Page 113 - Our pulpits ring continually of the insolence and impudence of women, and, to help forward, the players have likewise taken them to task, and so to the ballads and ballad-singers ; so that they can come no where but their ears tingle.
Page 211 - Ils ont un terme pour signifier cette plaisanterie, ce vrai comique, cette gaieté, cette urbanité, ces saillies qui échappent à un homme sans qu'il s'en doute; et ils rendent cette idée par le mot humeur, humour, qu'ils prononcent yumor...
Page 306 - The chorus too should be regarded as one of the actors; it should be an integral part of the whole and share in the action in the manner not of Euripides but of Sophocles.
Page 119 - Mask" to which Howell alludes is almost certainly Sir William D'Avenant's The Temple of Love, set by Inigo Jones, and acted by the Queen and her ladies at Whitehall on ShroveTuesday, 1634. D'Avenant himself declares that this Masque, "for the newness of the invention, variety of scenes, apparitions, and richness of habits was generally approved to be one of the most magnificent that hath been done in England.
Page 130 - When love with one another so Interinanimates two souls, That abler soul, which thence doth flow, Defects of loneliness controls.
Page 340 - Fader, why do ye wepe? Whanne wol the gayler bryngen oure potage? Is ther no morsel breed that ye do kepe? I am so hungry that I may nat slepe. Now wolde God that I myghte slepen evere! Thanne sholde nat hunger in my wombe crepe; Ther is no thyng, save breed, that me were levere. Thus day by day this child bigan to crye, Til in his fadres barm adoun it lay. And seyde, 'Farewel, fader, I moot dye!