The Works of Charles Lamb: In Two Parts, Volume 2C. and J. Ollier, 1818 |
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Page 3
... give the reins and to pull in the curb exactly at the moment when the drawing in or the slackening is most graceful ; seems to demand a reach of intellect of a vastly different extent from that which is * It is observable that we fall ...
... give the reins and to pull in the curb exactly at the moment when the drawing in or the slackening is most graceful ; seems to demand a reach of intellect of a vastly different extent from that which is * It is observable that we fall ...
Page 4
... give no more idea by his face or gesture than the eye ( without a metaphor ) can speak , or the muscles utter intelligible sounds . But such is the instantaneous nature of the impressions which we take in at the eye and ear at a play ...
... give no more idea by his face or gesture than the eye ( without a metaphor ) can speak , or the muscles utter intelligible sounds . But such is the instantaneous nature of the impressions which we take in at the eye and ear at a play ...
Page 8
... gives us . But the practice of stage representation re- duces every thing to a controversy of elocution . Every character , from the boisterous blasphem- ings of Bajazet to the shrinking timidity of wo- manhood , must play the orator ...
... gives us . But the practice of stage representation re- duces every thing to a controversy of elocution . Every character , from the boisterous blasphem- ings of Bajazet to the shrinking timidity of wo- manhood , must play the orator ...
Page 9
... give lectures to the crowd ! 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 ...
... give lectures to the crowd ! 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 ...
Page 11
... give us enough of pas- sionate dialogue , which Banks or Lillo were never at a loss to furnish ; I see not how the effect could be much different upon an audience , nor how the actor has it in his power to repre- sent Shakspeare to us ...
... give us enough of pas- sionate dialogue , which Banks or Lillo were never at a loss to furnish ; I see not how the effect could be much different upon an audience , nor how the actor has it in his power to repre- sent Shakspeare to us ...
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The Works of Charles Lamb, Vol. 2: Poems, Plays and Miscellaneous Essays ... Charles Lamb No preview available - 2018 |
Common terms and phrases
1st Footman 1st Gentleman 1st Lady 1st Waiter 2d Footman 2d Gentleman 2d Lady 2d Waiter 4th Lady 5th Waiter acting appetite beauty Belvil better character countenance creature crime curiosity deformity delight express eye of mind face fancy feel genius Gin Lane give Hamlet hang heart Hogarth Hogsflesh honour horror human humour images imagination Industry and Idle innocence John Tomkins Landlord Lear less look Lord Madam Maid melancholy Melesinda Middleton mind mirth moral Mother Damnable nature ness never old lady Othello passion PERCY BYSSHE SHELLEY person PHILIP MASSINGER picture pity plate play pleasure poet poor Rake's Progress Reflector Satires scene seems sense servants Shakspeare shew shewn sion sort soul speak spectators stage suffer sweet Tamburlaine thing THOMAS MIDDLETON thought tion tragedy ture virtue WILLIAM ROWLEY Wither woman wonder
Popular passages
Page 19 - O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand...
Page 142 - But man is a noble animal, splendid in ashes, and pompous in the grave, solemnizing nativities and deaths with equal lustre, nor omitting ceremonies of bravery in the infamy of his nature.
Page 37 - Specimens of English Dramatic Poets who lived about the time of Shakspeare...
Page 25 - The greatness of Lear is not in corporal dimension, but in intellectual : the explosions of his passion are terrible as a volcano : they are storms turning up and disclosing to the bottom that sea, his mind, with all its vast riches.
Page 86 - Doctors, and their servants (so that the remnant of the body would not hold out a bone amongst so many hands), take what was left out of the grave, and burnt them to ashes, and cast them into Swift, a neighbouring brook, running hard by. Thus this brook...
Page 64 - He would have made a great epic poet, if indeed he has not abundantly shown himself to be one ; for his Homer is not so properly a translation as the stories of Achilles and Ulysses re-written.
Page 26 - What gesture shall we appropriate to this ? What has the voice or the eye to do with such things ? But the play is beyond all art, as the tamperings with it shew : it is too hard and stony : it must have love-scenes, and a happy ending.
Page 22 - 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.
Page 183 - I am no way facetious, nor disposed for the mirth and galliardize of company; yet in one dream I can compose a whole comedy, behold the action, apprehend the jests, and laugh myself awake at the conceits thereof.
Page 4 - But such is the instantaneous nature of the impressions which we take in at the eye and ear at a playhouse, compared with the slow apprehension often-times of the understanding in reading, that we are apt not only to sink the play-writer in the consideration which we pay to the actor, but even to identify in our minds in a perverse manner the actor with the character which he represents. It is difficult for a frequent play-goer to disembarrass the idea of Hamlet from the person and voice of Mr K[emble]....