The Dramatic Essays of Charles LambChatto & Windus, 1891 - 265 Seiten |
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Seite 19
... spectator : Show his eyes , and grieve his heart . You must not open any of the truth to Dawley by means of a letter : a letter is a feeble mes- senger on the stage . Somebody , the son of his , must , as a coup de main , be exasperated ...
... spectator : Show his eyes , and grieve his heart . You must not open any of the truth to Dawley by means of a letter : a letter is a feeble mes- senger on the stage . Somebody , the son of his , must , as a coup de main , be exasperated ...
Seite 25
... spectators began to hiss , and Lamb went with the crowd , " and hissed and hooted as loudly as any of his neighbours . " Talfourd tells us that Elliston , who played Mr. H. , ' would have tried it again , but " Lamb saw at once that the ...
... spectators began to hiss , and Lamb went with the crowd , " and hissed and hooted as loudly as any of his neighbours . " Talfourd tells us that Elliston , who played Mr. H. , ' would have tried it again , but " Lamb saw at once that the ...
Seite 27
... spectators . To keep a secret is a misconception of true theatri- cal effect , an improper method of sustaining dra- matic suspense . An audience is interested not in what the end may be , but in the means whereby that end is to be ...
... spectators . To keep a secret is a misconception of true theatri- cal effect , an improper method of sustaining dra- matic suspense . An audience is interested not in what the end may be , but in the means whereby that end is to be ...
Seite 47
... spectator , from his action , could divine more of his artifice than Othello was supposed to do . His confes- sions ... spectators to shoot their bolts at . The Iago of Bensley did not go to work so grossly . There was a triumphant tone ...
... spectator , from his action , could divine more of his artifice than Othello was supposed to do . His confes- sions ... spectators to shoot their bolts at . The Iago of Bensley did not go to work so grossly . There was a triumphant tone ...
Seite 61
... spectator ; and the dramatis persona were supposed to know nothing at all about it . The lies of Young Wilding , and the sentiments in Joseph Surface , were thus marked out in a sort of italics to the audience . This secret corre ...
... spectator ; and the dramatis persona were supposed to know nothing at all about it . The lies of Young Wilding , and the sentiments in Joseph Surface , were thus marked out in a sort of italics to the audience . This secret corre ...
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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.