The Protagonist In A Sentence

Short & Simple Example Sentence For The Protagonist | The Protagonist Sentence

  • Tom_, the protagonist
  • The "cher Hal['e]vy" who is the protagonist of the amazing dialogue. /

How To Use The Protagonist In A Sentence?

  • That prelude must be a beautiful setting of silence for a few moments showing the protagonist under the light of eternity.
  • A lesbian manages to free the protagonist of a mother-complex, because her attitude is free of feminine seductiveness.
  • This had been her misfortune always, the ardent heart joined to the critical judgment, the spectator chained eternally to the protagonist.
  • Beauty hath her Martyrs, as the rest; and of these Keats is the Protagonist; the youngest and the fairest; the most enamoured victim.
  • Marco Landi, the protagonist and narrator of a story which is skilfully contrived and excellently told, is a fairly familiar type of soldier of fortune.
  • The character of the Eleatic stranger is colourless; he is to a certain extent the reflection of his father and master, Parmenides, who is the protagonist in the dialogue which is called by his name.
  • These people were probably pre-Celtic, and this strengthens the arguments already put forward for a pre-Celtic origin for the Protagonist of our narrative.
  • They have all fled back into the impenetrable shade whence they came; our minds are free; and if social equity is not a chimera, Marie Antoinette was the protagonist of the most barbarous and execrable of causes.
  • William Edward Forster, the creator of national education, a Chartist in his youth, had become the gaoler of Parnell and the protagonist of coercion in Ireland.
  • As a parent of musical form he was the protagonist of Italian music, both sacred and secular, and left an admirable model, which even the new school of opera so soon to rise found it necessary to follow in the construction of harmony.
  • The reforms in opera of which Gluck was the protagonist, and Wagner the extreme modern exponent, characterise the dramatic works of Cherubini, though he keeps them within that artistic limit which a proper regard for melodic beauty prescribes.
  • Enter now a chorus of Oceanides, and these continue throughout the play to perform the functions of exciting sympathy for the Protagonist, and of calling upon him for information when it becomes necessary that the audience should know this and that fact essential to the intelligibility of the action.
  • The absolute purity of the protagonist raises the entire scheme to a height of romantic art from which the sufferings of Thebes and Pelops' line are by their very horror excluded, and shows how wrong Aristotle was when he said in his treatise on the drama that it would be impossible to bear the spectacle of one blameless in pain.
  • Still, grace there is, and distinction, in all that Prof. Murray writes--qualities that are not accentuated by the mouthings of the protagonist, Mr. Martin Harvey, the uninspired drone of the chorus, or the intermittent shrieking and bawling of the crowd.
  • I perceive now there must have been growing in me, slowly, irregularly, assimilating to itself all the phrases and forms of patriotism, diverting my religious impulses, utilising my esthetic tendencies, my dominating idea, the statesman's idea, that idea of social service which is the protagonist of my story, that real though complex passion for Making, making widely and greatly, cities, national order, civilisation, whose interplay with all those other factors in life I have set out to present.
  • Now, if by some rare good luck the great talker, the protagonist, of the evening has been provided with a commensurate second, it is just possible that something like a brilliant "passage of arms" may be the result,--though much even in that case will depend on the chances of the moment for furnishing a fortunate theme, and even then, amongst the superior part of the company, a feeling of deep vulgarity and of mountebank display is inseparable from such an ostentatious duel of wit.
  • [Mrs. ASQUITH'S feuilleton, which for so many people has transformed Sunday into a day of unrest, sets up a new method of autobiography, in which the protagonist is, so to speak, both JOHNSON and BOSWELL too.

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