Edinburgh Dramatic Review, Volúmenes7-9James L. Huie., 1824 |
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Página 202
... audience . What follows is , in a dramatic point of view , mere supererogatory suffering , and a tax upon the patience of the audience . The first scene we like the best , as most indicative of those savage times , when there was no ...
... audience . What follows is , in a dramatic point of view , mere supererogatory suffering , and a tax upon the patience of the audience . The first scene we like the best , as most indicative of those savage times , when there was no ...
Página 6
... audience at large seemed insensible to good acting . The soliloquy , commencing , " Were it done , ' twere well , " & c . and the other in the dagger scene , were given in a style which could not have been surpass- ed ; but ir ...
... audience at large seemed insensible to good acting . The soliloquy , commencing , " Were it done , ' twere well , " & c . and the other in the dagger scene , were given in a style which could not have been surpass- ed ; but ir ...
Página 19
... audience a view of his countenance . His well - timed rebuke of the silly prating of Gratiano was given in the true tone of contemptuous sarcasm ; and the bitter agony with which he listens to his cruel doom was as affecting as it was ...
... audience a view of his countenance . His well - timed rebuke of the silly prating of Gratiano was given in the true tone of contemptuous sarcasm ; and the bitter agony with which he listens to his cruel doom was as affecting as it was ...
Página 22
... audience upon his per- formance ; and in the Senate , where his sensitive pride is alarmed even by the incense of flattery , as if the praise . of mortals was unworthy of his acceptance , he confirmed the highest expectations which were ...
... audience upon his per- formance ; and in the Senate , where his sensitive pride is alarmed even by the incense of flattery , as if the praise . of mortals was unworthy of his acceptance , he confirmed the highest expectations which were ...
Página 27
... audience , whether friendly or unfriendly towards an actor ; and that this cry of or - dir , ( which is a sort of wet blanket in its way ) is not more strange than pre- sumptuous . Perhaps , you would propose the heaving of this god ...
... audience , whether friendly or unfriendly towards an actor ; and that this cry of or - dir , ( which is a sort of wet blanket in its way ) is not more strange than pre- sumptuous . Perhaps , you would propose the heaving of this god ...
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Términos y frases comunes
acting actor admirable Aikin appearance audience Avriana Bing Brough Bucarab Burning Forest Calcraft Caledonian Theatre Captain character Charles Kemble CHERRY & FAIR Cherry and Fair comedy Coriolanus DAILY BY J. L. Demetrius Denham desert Dramatic Review Duff Edinburgh excellent Eyre Miss Fairy Papilla Fairy Queen Farce Faulkner feeling gentleman Giaffer Guardian Fiends HANOVER STREET Hillyard HUNTER INFIRMARY ST INFIRMARY STREET J. L. HUIE Jones Kemble King of Cyprus Lacy Lady LEITH Lord Lynch M'Gregor Mackay Mackay's Manager Mason Melo-Dramatic Messrs Miller Miss Eyre Miss H Miss Halford Miss Murray Miss Nicol Miss Rae Murray's never Nicol Miss NOTICES TO CORRESPONDENTS Papilla performance piece play Players well bestowed Power Prince Cherry's Princess Fair Star Pritchard PUBLISHED DAILY Quintus Fabius Vibulanus racter remark Renaud Rob Roy Sanguinbeck scene SCENERY SHAKSPEARE Siddons spirit Stanley Theatre Royal Theatre-Ropal THEATRICAL INTELLIGENCE thing Topac tragedy Vandenhoff View Virginius WATT Wynn
Pasajes populares
Página 35 - The language of poetry naturally falls in with the language of power.
Página 166 - It was the lark, the herald of the morn, No nightingale ; look, love, what envious streaks Do lace the severing clouds in yonder east. Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops; I must be gone and live, or stay and die.
Página 35 - The one is a monopolising faculty, which seeks the greatest quantity of present excitement by inequality and disproportion ; the other is a distributive faculty, which seeks the greatest quantity of ultimate good, by justice and proportion. The one is an aristocratical, the other a republican faculty. The principle of poetry is a very anti-levelling principle. It aims at effect, it exists by contrast. It admits of no medium. It is every thing by excess.
Página 76 - Of human dealings : If I do prove her haggard, Though that her jesses were my dear heart-strings, I'd whistle her off, and let her down the wind, To prey at fortune.
Página 79 - There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet's imagination that the mind which once ventures within it is hurried irresistibly along.
Página 35 - The cause of the people is indeed but little calculated as a subject for poetry: it admits of rhetoric, which goes into argument and explanation, but it presents no immediate or distinct images to the mind, 'no jutting frieze, buttress, or coigne of vantage' for poetry 'to make its pendant bed and procreant cradle in'.
Página 176 - No, you unnatural hags, I will have such revenges on you both, That all the world shall — I will do such things — What they are yet I know not ; but they shall be The terrors of the earth.
Página 79 - The artful involutions of distinct interests, the striking oppositions of contrary characters, the sudden changes of fortune, and the quick succession of events, fill the mind with a perpetual tumult of indignation, pity, and hope. There is no scene which does not contribute to the aggravation...
Página 53 - There is no attempt to force an interest: everything is left for time and circumstances to unfold. The attention is excited without effort, the incidents succeed each other as matters of course, the characters think and speak and act just as they might do if left entirely to themselves. There is no set purpose, no straining at a point.
Página 36 - It puts the individual for the species, the one above the infinite many, might before right. A lion hunting a flock of sheep or a herd of wild asses is a more poetical object than...