 | Percy Hazen Houston - 1923 - 346 페이지
...into believing fiction instead of truth. If, then, we grant something to the exigencies of the drama, time is of all modes of existence most obsequious to the imagination, and we may conceive of a lapse of years as easily as of a passage of hours. Likewise, the different... | |
 | Octavius Francis Christie - 1924 - 296 페이지
...fortresses of security." " He that races against Time has an antagonist not subject to casualties." 1 " Time is, of all modes of existence, most obsequious to the imagination." We read, and are struck by, such passages as these ; but when we ask what is the secret of their power,... | |
 | Samuel Johnson - 1908 - 256 페이지
...us. _The drama exhibits suc-^| A cessive imitations of successive actions ; and why may fj not_fEe second imitation represent an action that happened years after the first, if it be so connected with it^that nothing but time can be supposed to intervene? Time is, of all modes of existence, most obsequious... | |
 | Catherine Neal Parke - 1991 - 212 페이지
...Johnson revised the word antiquity, so in his discussion of time, he similarly reconsiders the term: "Time is, of all modes of existence, most obsequious...years is as easily conceived as a passage of hours" (YJ 7:78). Critics who have faulted Shakespeare for abusing the unity of time present themselves as... | |
 | Samuel L. Macey - 1994 - 730 페이지
...enjoyment and intellectual benefit that may be gotten from a dramatic performance. As Johnson puts it, "Time is, of all modes of existence, most obsequious...years is as easily conceived as a passage of hours." The Romantic reaction against "neoclassical" rules, beginning in the latter part of the eighteenth... | |
 | David Pierce, Peter Jan de Voogd - 1996 - 228 페이지
...no narration: even Dr Johnson (no instinctive Sternean) remarks in his 'Preface to Shakespeare' that 'time is, of all modes of existence, most obsequious to the imagination' (Johnson, 1963: 502); and Sterne as we know exacts the fullest measure of temporal obsequiousness,... | |
 | William Shakespeare - 1838 - 476 페이지
...Rome nor Pontus, — that neither Mithridates nor Lucullus are before us. The drama exhibits successif imitations of successive actions, and why may not the second imitation represent an action that bappciifd years after the first, if it be so connected with it that nothing but time can be supposed... | |
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Pontus ; we know that there is neither war nor preparation for war; we know that we are neither in Rome nor Pontus, that neither Mithridates nor Lucullus are before us. The drama exhibits successive imitations of successive actions, and why may not the... 
