A Study of the Drama, Volumen10Houghton Mifflin, 1910 - 320 páginas |
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Página 32
... example , forever associated with the per- son of John Philip Kemble . Now , it may be admitted at once that there are many things in Shakspere's plays which we can best taste as we study them reverently , book in hand . But there are ...
... example , forever associated with the per- son of John Philip Kemble . Now , it may be admitted at once that there are many things in Shakspere's plays which we can best taste as we study them reverently , book in hand . But there are ...
Página 33
... example , just as he gave lameness to other characters intended for the acting of his lame brother - in - law , Béjart . He wrote the gay serving - maid in the " Bourgeois Gen- tilhomme " to utilize at once the infectious laughter of ...
... example , just as he gave lameness to other characters intended for the acting of his lame brother - in - law , Béjart . He wrote the gay serving - maid in the " Bourgeois Gen- tilhomme " to utilize at once the infectious laughter of ...
Página 35
... example , was so tightly adjusted to the clever- ness of the French performer that it lost the most of its effect when acted by Signora Duse , because the Italian actress found in its tricky ingenuity no oppor- tunity for the poignant ...
... example , was so tightly adjusted to the clever- ness of the French performer that it lost the most of its effect when acted by Signora Duse , because the Italian actress found in its tricky ingenuity no oppor- tunity for the poignant ...
Página 36
... example of theatrical tailoring than M. Rostand's cutting and fitting of his poetic fabric to the exact size and shape of Coquelin's his- trionic accomplishments , yet this did not in any way detract from the originality and the charm ...
... example of theatrical tailoring than M. Rostand's cutting and fitting of his poetic fabric to the exact size and shape of Coquelin's his- trionic accomplishments , yet this did not in any way detract from the originality and the charm ...
Página 46
... example , it is only as we come to a realizing sense of the influence exerted upon the art of the dramatist by the specific conditions of each of the special types of theater which have existed each in its own time and place , that we ...
... example , it is only as we come to a realizing sense of the influence exerted upon the art of the dramatist by the specific conditions of each of the special types of theater which have existed each in its own time and place , that we ...
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Términos y frases comunes
accept acters action actors actual Æschylus Aristotle artist asserted audience Ben Jonson Brunetière century char characters chorus chronicle-play closet-drama comedy comedy-of-masks comic composed contemporary convention Corneille critics declared diagram dialogue dramatic poets dramatist earlier Edipus Elizabethan English episodes Eschylus essential example exist fact farce feel France French Greek Hamlet hero human Iago Ibsen interest Italian Julius Cæsar less literary literature Lope de Vega lyric masterpieces medieval melodrama method modern Molière Molière's moral never novel once Othello ourselves performance pieces Plautus play playgoers playhouse playmaking playwright plot poem poetic drama poetry present prose prose-fiction reveal Romeo scenery scenes School for Scandal Scribe semi-medieval Shak Shakspere Shakspere's Sheridan single soliloquy Sophocles spectators speech stage story successive Tartuffe theater theater of Dionysus theatrical theme things three unities tion to-day tragedy tragedy-of-blood tragic verse Victor Hugo words wrote
Pasajes populares
Página 272 - The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players.
Página 152 - Hamlet is a name ; his speeches and sayings but the idle coinage of the poet's brain. What then, are they not real ? They are as real as our own thoughts. Their reality is in the reader's mind. It is <we who are Hamlet.
Página 229 - The highest moral purpose aimed at in the highest species of the drama, is the teaching of the human heart, through its sympathies and antipathies, the knowledge of itself ; in proportion to the possession of which knowledge every human being is wise, just, sincere, tolerant, and kind.
Página 90 - The individual is foolish. The multitude, for the moment, is foolish when they act without deliberation ; but the species is wise, and when time is given to it, as a species, it almost always acts right.
Página 85 - The Poet writes under one restriction only, namely, the necessity of giving immediate pleasure to a human Being possessed of that information which may be expected from him, not as a lawyer, a physician, a mariner, an astronomer, or a natural philosopher, but as a Man.
Página 152 - ... he who has felt his mind sink within him, and sadness cling to his heart like a malady ; who has had his hopes blighted and his youth staggered by the apparitions of strange things ; who cannot be well at ease, while he sees evil hovering near him like a spectre : whose powers of action have been eaten up by thought ; he to whom the universe seems infinite, and himself nothing ; whose bitterness of soul makes him careless of consequences, and who goes to a play, as his best resource to shove...
Página 12 - He was eating an apple, and giving a long, melodious whoop, at intervals, followed by a deeptoned ding-dong-dong, ding-dong-dong, for he was personating a steamboat. As he drew near, he slackened speed, took the middle of the street, leaned far over to starboard and rounded to ponderously and with laborious pomp and circumstance—for he was personating the "Big Missouri," and considered himself to be drawing nine feet of water.
Página 1 - We dispute and wrangle for ever; we endeavour to get men to come to us, when we do not go to them. He therefore who is acquainted with the works which have pleased different ages and different countries, and has formed his opinion on them, has more materials, and more means of knowing what is analogous to the mind of man, than he who is conversant only with the works of his own age or country. What has pleased, and continues to please, is likely to please again : hence are derived the rules of art...
Página 12 - Chow-chchow-chow!" The left hand began to describe circles. "Stop the stabboard! Ting-a-ling-ling! Stop the labboard! Come ahead on the stabboard! Stop her! Let your outside turn over slow! Ting-a-ling-ling! Chow-ow-ow! Get out that headline! LIVELY now! Come— out with your spring-line— what're you about there!
Página 280 - Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun, or but slightly to exceed this limit ; whereas the Epic action has no limits of time.