About the Theatre: Essays and StudiesT. F. Unwin, 1886 - 350 pages |
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Common terms and phrases
absolute actors admirable American artistic attempt audience Augustus Harris Beggar's Opera burlesque Burnand called Cenci Censor censorship century chance character Charles Claudian comedy conceive Cromwell cynical dialogue doubt dramatist Edwin Booth effect England English drama fact farce first-night French G. R. Sims Grundy hand Henry Hernani Hugo's humour ideal interest judgment King least Les Burgraves less license literary London Lord Chamberlain Lyceum manager matter means melodrama ment merely merits Messrs modern Molière moral nature night opera opera-bouffe opinion patent theatres performance Pettitt piece Pinero play playgoer playwright plot poet poetic political popular possible present Princess's produced question realistic Ruy Blas Sardou satire scarcely scene seems serious Shakespeare Shakespearean Sims society stage Stageland success surely talent tendency theatre Théâtre-Français theatrical criticism things tion to-day tragedy truth verse Victor Hugo Wagner whole Wilson Barrett words
Popular passages
Page 311 - sous tes pieds passerait impuni, Puisque son front n'est plus au niveau de ton glaive, Puisqu'il faut être grand pour mourir, je me lève. Dieu qui donne le sceptre et qui te le donna M'a fait duc de Segorbe, et duc de Cardona, Marquis de Monroy, comte Albatera, vicomte De Gor, seigneur de lieux dont j'ignore le
Page 106 - The kinge is pleased to take faith, death, slight, for asseverations, and no oaths, to which I doe humbly submit as my master's judgment ; but under favour conceive them to be oaths, and enter them here, to declare my opinion and submission.
Page 246 - while Miss Terry chants her verses with an emphasis on every monosyllable, reminding one of Churchill's lines about Moody : — " Conjunction, preposition, adverb, join To stamp new vigour on the nervous line ; In monosyllables his thunders roll, He, she, it, and, we, ye, they, fright the soul.
Page 250 - to memory arise the image and the manner of the gentle actor ! " Will " Orsino, Mr. Terriss," carry a full Shakespearean sound to the ear of any man now living should he chance, thirty years hence, upon one of the elegant Lyceum programmes of to-day
Page 317 - veux-tu dire ? Ruy Blas. Invente, imagine, suppose, Fouille dans ton esprit ; cherches-y quelque chose D'étrange, d'insensé, d'horrible et d'inouï, Une fatalité dont on soit ébloui ! Oui, compose un poison affreux, creuse un abîme Plus sourd que la folie et plus noir que le crime, Tu n'approcheras pas encor de mon secret. —Tu ne devines pas ?—Hé ! qui devinerait
Page 115 - subject them to the arbitrary will and pleasure of any one man. A power lodged in the hands of a single man, to judge and determine without limitation, control, or appeal, is a sort of power unknown to our laws, and inconsistent with
Page 300 - As we review the preface in the light of the play and its successors, we are inclined to cry, with Ibsen's Julian the Apostate, " The old beauty is no longer beautiful, and the new truth is no longer true." M. Zola has admirably stated the upshot of
Page 311 - Don Carlos)— Oui, nos têtes, ô roi ! Ont le droit de tomber couvertes devant toi ! (Aux prisonniers)— Silva ! Haro ! Lara ! gens de titre et de race, Place à Jean d'Aragon ! ducs et comtes ! ma place ! (Aux courtisans et
Page 103 - jestingly or profanely speak or use the holy name of God, or of Christ Jesus, or of the Holy Ghost, or of the Trinity, shall forfeit