A few nice high quality plastic mould images I found:
Image from page 178 of “William Shakespeare; poet, dramatist, and man” (1901)
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Identifier: williamshakespe00mabi
Title: William Shakespeare; poet, dramatist, and man
Year: 1901 (1900s)
Authors: Mabie, Hamilton Wright, 1846-1916
Subjects: Shakespeare, William, 1564-1616
Publisher: New York : The Macmillan company London, Macmillan & co., ltd.
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN
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hadbecome a well-defined and highly developed nationalspeech when Shakespeare began to use it, but wasstill the language of life rather than of literature;its freshest and most beguiling combinations ofsound and sense were still to be made; it was stillwarm from the moulds in which it had been cast; itwas still plastic to the touch of the imagination.The poet had learned its most intimate familiar APPRENTICESHIP 135 symbols of homely, domestic, daily life among thepeople at Strat-ford ; he haddrunk of itsancient classi-cal springs inthe grammarschool; and, inLondon, amongmen of gift,quality, andknowledge ofthe world, hecame quickly tomaster the vo-cabulary of themen of action,adventure, andaffairs. Thedrama as a liter-ary form was atthe same criti-cal stage ; itwas well de-fined, its mainlines were dis-tinctly marked,but it had nothardened into wiluam shakespeare. final fnv TY-i c ^^^ J ^ ^ ^^■^ statue, which stands at the entrance to thellliai iOrmS. jVIall, central Park, New York.
Text Appearing After Image:
136 WILLIAM SHAKESPEARE The genius of Marlowe had brought to Its de-velopment the richness of diction and the imagi-native splendour of great poetry. It remained forShakespeare to harmonize both language and artwith the highest individual insight and gift of song,and to blend in forms of ultimate beauty and powerthe vitality of his age, the quality of his genius, agreat philosophy of life, and the freedom and flexi-bility of a language of noble compass both ofthought and music. The stage offered both the form and the field fora great popular literature ; a literature capaciousenough to receive and conserve the largest thoughtconcerning human destiny, to disclose and to employthe finest resources of poetry, and yet to use a speechwhich was part of every Englishmans memory andexperience. The drama was the one great oppor-tunity of expression which the age offered, andShakespeare turned to it instinctively. The meas-ure of his orenius was the measure of his sensitive-ness, and his imagin
Note About Images
Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not perfectly resemble the original work.
Image from page 168 of “William Shakespeare; poet, dramatist, and man” (1901)
Image by Internet Archive Book Images
Identifier: williamshakespea01mabi
Title: William Shakespeare; poet, dramatist, and man
Year: 1901 (1900s)
Authors: Mabie, Hamilton Wright, 1846-1916
Subjects: Shakespeare, William, 1564-1616 Dramatists, English
Publisher: New York, The Macmillan company London, Macmillan & co., ltd.
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress
View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.
Text Appearing Before Image:
ombined, hadbecome a well-defined and highly developed nationalspeech when Shakespeare began to use it, but wasstill the language of life rather than of literature;its freshest and most beguiling combinations ofsound and sense were still to be made; it was stillwarm from the moulds in which it had been cast; itwas still plastic to the touch of the imagination.The poet had learned its most intimate familiar APPRENTICESHIP 135 symbols of homely, domestic, daily life among thepeople at Strat-ford ; he haddrunk of itsancient classi-cal springs inthe grammarschool; and, inLondon, amongmen of gift,quality, andknowledge ofthe world, hecame quickly tomaster the vo-cabulary of themen of action,adventure, andaffairs. Thedrama as a liter-ary form was atthe same criti-cal stage ; itwas well de-fined, its mainlines were dis-tinctly marked,but it had nothardened into william shakespeare. £• 1 r The J. Q. A. Ward statue, which stands at the entrance to the inailOrmS. Mall, central Park, New York.
Text Appearing After Image:
136 WILLIAM SHAKESPEARE The genius of Marlowe had brought to its de-velopment the richness of diction and the imagi-native splendour of great poetry. It remained forShakespeare to harmonize both language and artwith the highest individual insight and gift of song,and to blend in forms of ultimate beauty and powerthe vitality of his age, the quality of his genius, agreat philosophy of life, and the freedom and flexi-bility of a language of noble compass both ofthought and music. The stage offered both the form and the field fora great popular literature ; a literature capaciousenough to receive and conserve the largest thoughtconcerning human destiny, to disclose and to employthe finest resources of poetry, and yet to use a speechwhich was part of every Englishmans memory andexperience. The drama was the one great oppor-tunity of expression which the age offered, andShakespeare turned to it instinctively. The meas-ure of his genius was the measure of his sensitive-ness, and his imagina
Note About Images
Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not perfectly resemble the original work.