The Dramatic Essays of Charles LambChatto & Windus, 1891 - 265 Seiten |
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Seite 15
... audience which sat in Drury Lane to gaze in wonder at the decorations and illuminations contrived by De Lutherbourg for the Christ- mas Tale ' of David Garrick . The stage has its changing evolutions , like society ; but Lamb , though ...
... audience which sat in Drury Lane to gaze in wonder at the decorations and illuminations contrived by De Lutherbourg for the Christ- mas Tale ' of David Garrick . The stage has its changing evolutions , like society ; but Lamb , though ...
Seite 19
... audience may be taken captive , very remarkable in one who could not apply his precepts in his own practice and for his own benefit . Here , for instance , are a few of Lamb's dra- matic dicta : " Some such way seems dramatic , and ...
... audience may be taken captive , very remarkable in one who could not apply his precepts in his own practice and for his own benefit . Here , for instance , are a few of Lamb's dra- matic dicta : " Some such way seems dramatic , and ...
Seite 27
... audience is interested not in what the end may be , but in the means whereby that end is to be reached . Before the play was done , Lamb wrote to Manning ( then in China ) that " the whole depends on the manner in which the name is ...
... audience is interested not in what the end may be , but in the means whereby that end is to be reached . Before the play was done , Lamb wrote to Manning ( then in China ) that " the whole depends on the manner in which the name is ...
Seite 28
... audience . One is greatly inclined to regret that Lamb did not yield to Elliston , and let the play be acted again . If it had had a second chance , the in- judicious friends would have been absent , and the name of the hero would have ...
... audience . One is greatly inclined to regret that Lamb did not yield to Elliston , and let the play be acted again . If it had had a second chance , the in- judicious friends would have been absent , and the name of the hero would have ...
Seite 42
... audience for a given time from certain of their fellow - men who were to come forward and pretend those parts . The lights - the orches- tra lights came up up a clumsy machinery . The first ring , and the second ring , was now but a ...
... audience for a given time from certain of their fellow - men who were to come forward and pretend those parts . The lights - the orches- tra lights came up up a clumsy machinery . The first ring , and the second ring , was now but a ...
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
acting actor affected audience Barabas the Jew Barbara called character Charles Lamb City Madam comedy comic contemplated counterfeit delight dialogue Dodd Dozey dramatic dream Drury Lane Duchess of Malfy Elliston express face fancy farce feel Fletcher Garrick grief Hamlet heart hissing honour humour images imagination John Woodvil judge Kemble lady Lamb's Lear less Liston living look lover Macbeth Maid's Tragedy manner Massinger Middleton mind mirth Miss Kelly moral Munden nature never night notion old actors OLYMPIC THEATRE once Othello passion performance person PHILIP MASSINGER piece play players pleasant pleasure poetry poets reader remember Richard scenes seems seen sense Shakspeare Shakspeare's sort soul speak spectators spirit stage representation supposed sweet Tamburlaine theatre theatrical things THOMAS MIDDLETON thought tion tones tragedy tragic truth turn voice WILLIAM ROWLEY witches woman wonder words write
Beliebte Passagen
Seite 9 - He is retired as noontide dew, Or fountain in a noon-day grove ; And you must love him, ere to you He will seem worthy of your love.
Seite 186 - A happy ending ! — as if the living martyrdom that Lear had gone through — the flaying of his feelings alive, did not make a fair dismissal from the stage of life the only decorous thing for him.
Seite 262 - ... more strongly I felt obligation to you for having brought me, — and the pleasure was the better for a little shame, — and when the curtain drew up, what cared we for our place in the house, or what mattered it where we were sitting, when our thoughts were with Rosalind in Arden, or with Viola at the Court of Illyria?
Seite 261 - ... inn, and order the best of dinners, never debating the expense, which, after all, never has half the relish of those chance country snaps, when we were at the mercy of uncertain usage and a precarious welcome.
Seite 69 - There is one face of Farley, one face of Knight, one (but what a one it is !) of Listen ; but Munden has none that you can properly pin down, and call his.
Seite 123 - Ye have the account Of my performance : what remains, ye gods ! But up, and enter now into full bliss ?" So having said, a while he stood, expecting Their universal shout, and high applause, To fill his ear ; when, contrary, he hears On all sides, from innumerable tongues, A dismal universal hiss, the sound Of public scorn...
Seite 151 - I could never connect those sports of a witty fancy in any shape with any result to be drawn from them to imitation in real life.
Seite 171 - Why, nine parts in ten of what Hamlet does are transactions between himself and his moral sense, they are the effusions of his solitary musings, which he retires to holes and corners and the most sequestered parts of the palace to pour forth, or rather, they are the silent meditations with which his bosom is bursting, reduced to words for the sake of the reader, who must else remain ignorant of what is passing there.
Seite 109 - My conceit of his person was never increased toward him by his place, or honours, but I have and do reverence him, for the greatness that was only proper to himself, in that he seemed to me ever, by his work, one of the greatest men, and most worthy of admiration, that had been in many ages. In his adversity I ever prayed that God would give him strength ; for greatness he could not want.
Seite 183 - The truth is, the characters of Shakspeare are so much the objects of meditation rather than of interest or curiosity as to their actions, that while we are reading any of his great criminal characters, — Macbeth, Richard, even lago, — we think not so much of the crimes which they commit, as of the ambition, the aspiring spirit, the intellectual activity, which prompts them to overleap these moral fences.