Antony & Cleopatra : tragedy by Shakespeare.
... continual novelty and think it a deplorable defection of genius for a poet to bring in any word again which has already been used close-by. Thus, Coleridge looks at those phrases in Shakespeare's Antony and Cleopatra - Her gentle women, like the Nereides, So many mermaids, tended her i' the eyes, And made their bends adornings: at the helm A seeming mermaid steers - Page 130 ...
... novelty and think it a deplorable defection of genius for a poet to bring in any word again which has already been used close-by. Thus, Coleridge looks at those phrases in Shakespeare's Antony and Cleopatra– Her gentle women, like the Nereides, So many mermaids, tended her i' the eyes, And made their bends adornings: at the helm A seeming mermaid steers– and noting the ...
... Shakespeare Page 201 showed "sensational potency" in the exquisite intensity of love he portrayed in Romeo and Juliet and the tremendous immensity of passion he depicted in Antony and Cleopatra. Striking indeed is the "sensational potency" of the lines: O she doth teach the torches to burn bright! Her beauty hangs upon the cheek of night Like a rich jewel in an Ethiop's... Romeo himself agonises in the vault? And here Will I set up my everlasting rest, And shake the yoke of inauspicious stars From this world-wearied flesh, or when Cleopatra adjures the asp: Come, mortal wretch, With thy sharp teeth this knot intrinsicate Of life at once untie: poor venomous fool, Be angry, and despatch. Not life but ...
... 18-20) As Sethna points out, Sri Aurobindo, with fine discrimina-tion, would deny the same level of quality to Cleopatra's Eternity was in our lips and eyes, Bliss in our brows bent: none our parts so poor But was a race of heaven. Antony and Cleopatra (1.3. 35-37) He would limit the passage to the vital plane 'the vital in its excited thrill' and cite as cou ...
... Juliet's beauty at a ball given by her family: O she doth teach the torches to burn bright! - or else when that distillation of the Stoic in the Roman temper is put in Caesar's mouth in Antony and Cleopatra: Be you not troubled with the time, which drives O'er your content these strong necessities, But let determined things to destiny Take unbewailed their way. Page 93 ...
... greater poetry in Macbeth than in those three other plays or several others which have not run in any competition to be his chief work — though just now I remember that Frank Harris took Antony and Cleopatra to be Shakespeare's richest creation. Although Macbeth's poetry is not any greater than that in the rest of Shakespeare's mature works, the Mount Everests here come very close together. The ...
... Romantic because it "ranges like Marlowe's among the echoing names of far countries of the world". 30 Then he has remarked apropos of Euripides's Andromeda : "We who possess Romeo and Juliet and Antony and Cleopatra cannot share the rage of Aristophanes at this first staging of romantic passion." 31 Finally, he has the observation: "There is much, then, that is 'romantic' in classical Greek literature; ...
... bed, In flaming curtains, with the dead. Then there are the great scenes of Antony and Cleopatra, as Shakespeare has intuited them. Hating the idea of being captured by the victorious Octavius Caesar and heart-broken on hearing the report, which later turned out to be false, of Cleopatra's death, Antony runs upon his sword which he makes his attendant hold straight before him and hurts himself... himself fatally, his life lasting only up to the time he is carried to Cleopatra's side. After his death, Cleopatra, scorning the prospect of being made prisoner by Octavius, applies an asp to her breast and addresses it: Come, thou mortal wretch. With thy sharp teeth this knot intrinsicate Of life at once untie; poor venemous fool, Be angry and despatch.... Sri Aurobindo... Aurobindo, discussing "nobility" of poetic style with me, wrote: "Cleopatra's words are an example of what I mean: the disdainful compassion for the fury of the chosen instrument of self-destruction which vainly thinks it can truly hurt her, the call to death to act swiftly and yet the sense of being high above what death can do, which these few simple words convey has the true essence of nobility. 'I ...
... scene with the high light it sheds on Cleopatra's character. For she was a remarkable woman, a great queen, a skilful ruler and politician, not merely the erotic détraquée people make of her. Shakespeare is not good at describing greatness, he poetised the homme moyen , but he has caught something here. The passage stands comparison with the words of Antony "I am dying, Egypt, dying" (down to "A... Which hurts and is desired.... ... Come, thou mortal wretch, With thy sharp teeth this knot intrinsicate Of life at once untie. Poor venomous fool, Be angry and dispatch. — Shakespeare , Antony and Cleopatra × Someone commented, apropos of a poem written by the correspondent: "There is one adjective... the poignant expression of grief or passion, but it expresses it with a certain high restraint so that even when the mood is personal it Page 172 yet borders on the widely impersonal. Cleopatra's words 3 are an example of what I mean; the disdainful compassion for the fury of the chosen instrument of self-destruction which vainly thinks it can truly hurt her, the call to death to act swiftly ...
... Answers , CWM, Vol. 6, p. 229. Shakespeare depicts Antony's immese love for Cleopatra through the gift of a single orient pearl and the Roman promises that at whose foot, To mend the petty present, I will piece Her opulent throne with kingdoms... 2 Later on in Act II Scene 3 Shakespeare describes Cleopatra's gold barge and silver oars. To stress further the oriental... learner indeed. The "orient pearl" appears again in Paradise Lost: Now mom her rosy steps in the eastern clime Advancing, sowed the earth with orient pearl. 5 2 Antony and Cleopatra , I. v. 11: 61-62. 3 Pericles, Prince of Tyre , V.i. 11:111 -13. 4 As You Like lt, H.i.ll : 12-14. 5 Paradise Lost, Book V, 11:1-2. Page 488 Dawn "sows" ...
... proof and led by shallow Richmond. or in Julius Caesar The evil that men do lives after them; The good is oft interrèd with their bones. or in the much later & richer vein of Antony & Cleopatra I am dying, Egypt, dying; only I here importune death awhile, until Of many thousand kisses the poor last I lay upon thy lips. Page 289 I have purposely selected passages ...
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