Drama |
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Page 35
... believe one never speaks of Shakespeare being " revived " ) Cymbeline was subjected to the latest methods of artificial re- spiration . I have criticized both the first two plays at considerable length and with some severity , so I will ...
... believe one never speaks of Shakespeare being " revived " ) Cymbeline was subjected to the latest methods of artificial re- spiration . I have criticized both the first two plays at considerable length and with some severity , so I will ...
Page 197
... believe both to have been in danger as long as she remained with her husband . But in the one scene of antagonism between them which we are shown , Clare is seen to be armed with both aversion and contempt ; and it is hard to believe he ...
... believe both to have been in danger as long as she remained with her husband . But in the one scene of antagonism between them which we are shown , Clare is seen to be armed with both aversion and contempt ; and it is hard to believe he ...
Page 269
... believe Cæsar could make the brutal quake , and that he had the manner of one in whom violent passions are only in check . Mr. Shaw would have us believe that Cæsar's love affair with Cleopatra was so absurdly trifling that he forgot ...
... believe Cæsar could make the brutal quake , and that he had the manner of one in whom violent passions are only in check . Mr. Shaw would have us believe that Cæsar's love affair with Cleopatra was so absurdly trifling that he forgot ...
Contents
THE PRODUCTION OF POETIC DRAMA February | 3 |
The Death of Tintagiles December 27th 1913 | 54 |
THE DRAMATIST OF THE FUTURE Ghosts | 61 |
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acter actors actress admirable Apple Cart artist audience beauty better Cæsar char character comedy course criticism curtain Cymbeline dark daughter death delight dialogue drama dramatist Duse effect emotion English excellent expression eyes father feel Fortune Theatre Franklin Dyall Galsworthy gestures girl Granville Barker Haggett Hamlet human husband Iago Ibsen imagination interest Joan Julius Cæsar kind last act live look lover Magda Maugham ment mind Miss modern moral moving nature never night Noel Coward once Othello passages passion pathos performance Pierrot play poet poetry producer realistic remember Rosmersholm Sacha Guitry Sarah Bernhardt scene sense sentiment Shakespeare Shaw Shaw's Shylock Sonya soul speak speech spirit stage Stephen Moor story Strindberg suggest sympathy Tchehov tell tenderness Theatre theme things thought tion touch tragedy turn Uncle Vanya Vanya voice Volpone wife woman words write young youth