A Course of Lectures on Dramatic Art and LiteratureHogan & Thompson, 1833 - 442 sidor |
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Sida 32
... elevation . The sunk semicircle of the or- chestra contained no spectators , and was destined for another purpose . It was otherwise however with the Romans , but we are not at present considering the distribution of their thea- tres ...
... elevation . The sunk semicircle of the or- chestra contained no spectators , and was destined for another purpose . It was otherwise however with the Romans , but we are not at present considering the distribution of their thea- tres ...
Sida 35
... elevation with steps , resembling an altar , as high as the stage , which was called thymele . This was the station of the chorus when it did not sing , but merely took an interest in the action . The leader of the chorus then took his ...
... elevation with steps , resembling an altar , as high as the stage , which was called thymele . This was the station of the chorus when it did not sing , but merely took an interest in the action . The leader of the chorus then took his ...
Sida 38
... appeared somewhat large for the rest of the figure ; but this disproportion , in tragedy at least , would not be perceived from the elevation of the cothurnus . of the figure ; on the stage they would endeavour 38 LECTURES ON.
... appeared somewhat large for the rest of the figure ; but this disproportion , in tragedy at least , would not be perceived from the elevation of the cothurnus . of the figure ; on the stage they would endeavour 38 LECTURES ON.
Sida 41
... elevation to a higher sphere . The tragical poetry wished wholly to separate the image of hu- manity which it exhibited to us , from the ground of nature to which man is in reality chained down , like a feudal slave . How was this to be ...
... elevation to a higher sphere . The tragical poetry wished wholly to separate the image of hu- manity which it exhibited to us , from the ground of nature to which man is in reality chained down , like a feudal slave . How was this to be ...
Sida 42
... elevation and magnificence it was only the more decidedly subjected to the law of gravity . Inward liberty and external necessity are the two poles of the tragic world . Each of these ideas can only appear in the most perfect manner by ...
... elevation and magnificence it was only the more decidedly subjected to the law of gravity . Inward liberty and external necessity are the two poles of the tragic world . Each of these ideas can only appear in the most perfect manner by ...
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acquainted action admiration Agamemnon allowed altogether ancient appears Aristophanes Aristotle beauty Ben Jonson Cæsar Calderon character chorus circumstances Clytemnestra comic writers composition considered Corneille critics degree dignity display dramatic art dramatic poet effect Electra elevation endeavours English entertainment Eschylus Eumenides Euripides everything exhibited expression favour feeling foreign French tragedy give Goethe Grecian Greek tragedy Greeks Hence heroes heroic honour human idea imagination imitation intrigue invention Julius Cæsar labour language Lope de Vega manner masks means Menander merely Metastasio mind modern Molière moral nations nature never noble object observe old comedy Orestes original passion peculiar persons picture pieces Plautus players plays poet poetical poetry possess produce Racine representation resemblance respect Roman scene sentiments Shakspeare Shakspeare's Sophocles Spanish Spanish poetry species spectators spirit stage talent taste theatre theatrical things tion tone tragic true unity verse Voltaire whole
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Sida 334 - Tis two or three, my lord, that bring you word, Macduff is fled to England. Macb. Fled to England ? Len. Ay, my good lord. Macb. Time, thou anticipat'st my dread exploits : The flighty purpose never is o'ertook, Unless the deed go with it : from this moment, The very firstlings of my heart shall be The firstlings of my hand.
Sida 323 - Yet nature is made better by no mean But nature makes that mean : so, over that art Which you say adds to nature, is an art That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock, And make conceive a bark of baser kind By bud of nobler race : this is an art Which does mend nature, change it rather, but The art itself is nature.
Sida 301 - element,' but the word is over-worn. \Exit. Vio. This fellow is wise enough to play the fool ; And to do that well craves a kind of wit : He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye.
Sida 196 - Between the acting of a dreadful thing And the first motion, all the interim is Like a phantasma, or a hideous dream : The genius, and the mortal instruments, Are then in council; and the state of man, Like to a little kingdom, suffers then The nature of an insurrection.
Sida 282 - How absolute the knave is ! we must speak by the card, or equivocation will undo us. By the Lord, Horatio, these three years I have taken note of it ; the age is grown so picked that the toe of the peasant comes so near the heel of the courtier, he galls his kibe. How long hast thou been a grave-maker? First Clo. Of all the days i' the year, I came to 't that day that our last king Hamlet overcame Fortinbras.
Sida 298 - ... properties subsist in him peaceably together. The world of spirits and nature have laid all their treasures at his feet: in strength a demi-god, in profundity of view a prophet, in all-seeing wisdom a guardian spirit of a higher order, he lowers himself to mortals as if unconscious of his superiority, and is as open and unassuming as a child.
Sida 325 - By the manner in which he has handled it, it has become a glorious song of praise on that inexpressible feeling which ennobles the soul and gives to it its highest sublimity, and which elevates even the senses themselves into soul...
Sida 323 - Say there be ; Yet nature is made better by no mean But nature makes that mean : so, over that art Which you say adds to nature, is an art That nature makes.
Sida 294 - And yet Johnson has objected to Shakespeare, that his pathos is not always natural and free from affectation. There are, it is true, passages, though, comparatively speaking, very few, where his poetry exceeds the bounds of true dialogue, where a too soaring imagination, a too luxuriant wit, rendered the complete dramatic forgetfulness of himself impossible. With this exception, the censure originates only in a fanciless way of thinking, to which everything appears unnatural that does not suit its...
Sida 300 - Shakespear's comic talent is equally wonderful with that which he has shown in the pathetic and tragic : it stands on an equal elevation, and possesses equal extent and profundity. All that I before wished was, not to admit that the former preponderated. He is highly inventive in comic situations and motives. It will be hardly possible to show whence he has taken any of them ; whereas in the serious part of his drama, he has generally laid hold of something already known. His comic characters are...