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Page 95
... moral interest . Ibsen's genius is inseparable from his conscience . He is , indeed , the dramatist of the Protestant Conscience ( " Save his own soul he hath no star " ) at its highest pitch of searching in- tensity . For this reason ...
... moral interest . Ibsen's genius is inseparable from his conscience . He is , indeed , the dramatist of the Protestant Conscience ( " Save his own soul he hath no star " ) at its highest pitch of searching in- tensity . For this reason ...
Page 96
... moral values where would those artists be ? True , it is possible , especially in the case of Tolstoy , to point to the interruptions of the moral theorizer as blemishes in his work . They often are . But that does not get us over the ...
... moral values where would those artists be ? True , it is possible , especially in the case of Tolstoy , to point to the interruptions of the moral theorizer as blemishes in his work . They often are . But that does not get us over the ...
Page 191
... moral imagina- tion , it is because morality is not with him a separate thing , with boundaries at which imag- ination can stop . Morals and religion are to him neither the foundations nor the superstruc- ture ; they are elements or ...
... moral imagina- tion , it is because morality is not with him a separate thing , with boundaries at which imag- ination can stop . Morals and religion are to him neither the foundations nor the superstruc- ture ; they are elements or ...
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