The Edinburgh Review: Or Critical Journal, Volume 196A. Constable, 1902 |
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Page 182
... stage ( pòs тà Oéarpa ) ' -that , he said , is aλos Xóyos , another question ... platform and retire from it without traversing the crowd . It is superfluous ... platform , devoid of scenery and sur- rounded by the spectators on ...
... stage ( pòs тà Oéarpa ) ' -that , he said , is aλos Xóyos , another question ... platform and retire from it without traversing the crowd . It is superfluous ... platform , devoid of scenery and sur- rounded by the spectators on ...
Page 183
... platform stage in the play- house was still what it had been in Shakespeare's time . Sorbière was struck by the indifference of the English audience to logical nexus of scenes in their drama , and gives the explanation furnished to him ...
... platform stage in the play- house was still what it had been in Shakespeare's time . Sorbière was struck by the indifference of the English audience to logical nexus of scenes in their drama , and gives the explanation furnished to him ...
Page 184
... platform - stage . The histrionic elements which Cibber singles out for mention are elements of rhetoric - the ' voice , ' the utterance . ' Cibber talks of the actors as we should now talk of orators -just as Plato had talked of them ...
... platform - stage . The histrionic elements which Cibber singles out for mention are elements of rhetoric - the ' voice , ' the utterance . ' Cibber talks of the actors as we should now talk of orators -just as Plato had talked of them ...
Page 185
... stage vogue of lunacy in those days is only to be matched by the vogue of hysteria - the hysteria of the ' Saphos ' and the Zazas ' in our own . The contrast is worth passing notice , as showing how the change from the platform to the ...
... stage vogue of lunacy in those days is only to be matched by the vogue of hysteria - the hysteria of the ' Saphos ' and the Zazas ' in our own . The contrast is worth passing notice , as showing how the change from the platform to the ...
Page 186
... stage ; it was not true of the platform - stage . In the rhetorical drama the actor , under the pretext of con- versing with his fellows , was in reality talking at his audience . The original players of The School for Scandal , ' as ...
... stage ; it was not true of the platform - stage . In the rhetorical drama the actor , under the pretext of con- versing with his fellows , was in reality talking at his audience . The original players of The School for Scandal , ' as ...
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Popular passages
Page 46 - Far on the deep the Spaniard saw, along each southern shire, % Cape beyond cape, in endless range, those twinkling points of fire. The fisher left his skiff to rock on Tamar's glittering waves : The rugged miners poured to war from Mendip's sunless caves: O'er Longleat's towers, o'er Cranbourne's oaks, the fiery herald flew: He roused the shepherds of Stonehenge, the rangers of Beaulieu.
Page 38 - The combat deepens. On, ye brave, Who rush to glory or the grave ! Wave, Munich, all thy banners wave, And charge with all thy chivalry.
Page 136 - ... would indeed be a •wild project ; it would be to dig up foundations ; to destroy at one blow all the wit and half the learning of the kingdom ; to break the entire frame and constitution of things ; to ruin trade, extinguish arts and sciences, with the professors of them ; in short, to turn our courts, exchanges, and shops into deserts...
Page 31 - She put her hand to the nail, And her right hand to the workman's hammer; And with the hammer she smote Sisera, She smote off his head, When she had pierced and stricken through his temples. At her feet he bowed, he fell, he lay down: At her feet he bowed, he fell: Where he bowed, there he fell down dead.
Page 38 - Last noon beheld them full of lusty life, Last eve in beauty's circle proudly gay ; The midnight brought the signal-sound of strife, The morn the marshalling in arms — the day Battle's magnificently stern array...
Page 191 - Another thing in which the French differ from us and from the Spaniards is, that they do not embarrass or cumber themselves with too much plot ; they only represent so much of a story as will constitute one whole and great action sufficient for a play ; we, who undertake more, do but multiply adventures ; which, not being produced from one another, as effects from causes, but barely following, constitute many actions in the drama, and consequently make it many plays.
Page 43 - Islands of the Blest'. The mountains look on Marathon, And Marathon looks on the sea. And musing there an hour alone, I dreamed that Greece might still be free, For standing on the Persians' grave, I could not deem myself a slave.
Page 91 - The lights begin to twinkle from the rocks: The long day wanes; the slow moon climbs; the deep Moans round with many voices. Come, my friends, 'Tis not too late to seek a newer world.
Page 44 - Warwick in blood did wade, Oxford the foe invade, And cruel slaughter made Still as they ran up; Suffolk his axe did ply, Beaumont and Willoughby Bare them right doughtily, Ferrers and Fanhope. Upon Saint Crispin's Day...
Page 37 - VANGUARD of Liberty, ye men of Kent, Ye children of a Soil that doth advance Her haughty brow against the coast of France, Now is the time to prove your hardiment! To France be words of invitation sent ! They from their fields can see the countenance Of your fierce war, may ken the glittering lance, And hear you shouting forth your brave intent. Left single, in bold parley...