 | Scott D. Evans - 1999 - 180 стор.
...refutes: "It is false, that any representation is mistaken for reality; that any dramatick fable in its materiality was ever credible, or, for a single moment, was ever credited" (76). Johnson foregrounds the question of what makes drama engage the intellectual sympathy of audiences... | |
 | William Shakespeare - 2001 - 448 стор.
...false. It is false, that any representation is mistaken for reality; that any dramatic fable in its materiality was ever credible, or, for a single moment,...passing the first hour at Alexandria, and the next at Home, supposes that when the play opens the spectator really imagines himself at Alexandria, and believes... | |
 | Michael McKeon - 2006 - 942 стор.
...But it "is false, that any representation is mistaken for reality; that any dramatick fable in its materiality was ever credible, or, for a single moment, was ever credited. . . . Delusion, if delusion be admitted, has no certain limitation .... The delight of tragedy proceeds... | |
 | 1935 - 184 стор.
...false. It is false, that any representation is mistaken for reality; that any dramatick fable in its materiality was ever credible, or, for a single moment,...the theatre has been a voyage to Egypt, and that he li ves in the days of Antony and Cleopatra. Surely he that imagines this may imagine more. He that... | |
 | René Wellek - 1978 - 768 стор.
...instituted by example, and therefore always liable to dispute and alteration.« 52. Raleigh, S. 26 — 27: »The objection arising from the impossibility of...really imagines himself at Alexandria, and believes his walk to the theater has been a voyage to Egypt, and that he lives in the days of Antony and Cleopatra.... | |
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The objection arising from the impossibility of passing the first hour at Alexandria, and the next at Rome, supposes that when the play opens, the spectator really imagines himself at Alexandria, and believes that his walk to the theatre has been a voyage... 
