A History of English Dramatic Literature to the Death of Queen Anne, Volume 2Macmillan and Company, 1875 - English drama |
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Page 11
... fashion . * Act ii . The eloquent passage ( act i ) on the respect due to the Stage , when pursuing its true ends , should be noticed , though , as Clermont's interlocutor observes , it be only a ' virtuous digression . ' The Con ...
... fashion . * Act ii . The eloquent passage ( act i ) on the respect due to the Stage , when pursuing its true ends , should be noticed , though , as Clermont's interlocutor observes , it be only a ' virtuous digression . ' The Con ...
Page 17
... fashion amounting , it is needless to say , to a singularly gross perversion of history . Thus , to speak of the chief personage of the play only , the real Alphonsus never came to Germany at all , and seems to have been a very ...
... fashion amounting , it is needless to say , to a singularly gross perversion of history . Thus , to speak of the chief personage of the play only , the real Alphonsus never came to Germany at all , and seems to have been a very ...
Page 18
... fashion . Shakspere's Princess Katharine can only speak French ; in Dekker's Shoemakers ' Holiday the hero assumes the dis- guise and the tongue of a Fleming ; and other instances might be cited for the introduction of a character ...
... fashion . Shakspere's Princess Katharine can only speak French ; in Dekker's Shoemakers ' Holiday the hero assumes the dis- guise and the tongue of a Fleming ; and other instances might be cited for the introduction of a character ...
Page 36
... fashion very different from the superficial show of classical learning in which so many of the earlier dramatists were wont to indulge . Yet though Chapman was also possibly well acquainted with the German language , and though he was ...
... fashion very different from the superficial show of classical learning in which so many of the earlier dramatists were wont to indulge . Yet though Chapman was also possibly well acquainted with the German language , and though he was ...
Page 64
... fashion brings on the stage three literary critics , Atticus , Doricus , and Phylomuse , and from the play itself . In a scene ( ii . 1 ) which it is needless to examine in detail the author evidently identifies the poet Lampatho Doria ...
... fashion brings on the stage three literary critics , Atticus , Doricus , and Phylomuse , and from the play itself . In a scene ( ii . 1 ) which it is needless to examine in detail the author evidently identifies the poet Lampatho Doria ...
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Common terms and phrases
acted action actors admirable appears Beaumont and Fletcher Ben Jonson borrowed Bussy d'Ambois Chapman character Charles Colley Cibber Collier comedy comic contemporary Court D'Avenant D'Avenant's death Dekker dialogue drama dramatic literature dramatists Dryden Duke Dyce Eastward Hoe edition effective Elisabethan English Epilogue fashion favour favourite French furnished Geneste genius hand hero heroic Heywood Histriomastix honour humour Italian Jane Shore Jonson kind King Lady latter literary London Lord Love's Cure lover manners Marston mask Massinger Massinger's merits Middleton Molière moral observed opera original passage passion pathos period play plot poet poetic political popular Prince printed probably produced Prologue Queen racter resemblance Restoration rhyme Richard Brome romantic satire says scene seems sentiment Shakspere Shakspere's Shirley Shirley's Spanish spirit stage story style theatre Thomas Heywood tion tragedy tragic versification wife William Rowley writers written
Popular passages
Page 300 - CALANTHA'S DIRGE. [ From the Broken Heart. ] Glories, pleasures, pomps, delights and ease. Can but please Outward senses, when the mind Is untroubled, or by peace refined. Crowns may flourish and decay, Beauties shine, but fade away. Youth may revel, yet it must Lie down in a bed of dust.
Page 77 - Shakspeare have neither child of their own, nor seem to be descended from any parent. They are foul Anomalies, of whom we know not whence they are sprung, nor whether they have beginning or ending. As they are without human passions, so they seem to be without human relations. They come with thunder and lightning, and vanish to airy musiC. This is all we know of them. Except Hecate, they have no names ; which heightens their mysteriousness.
Page 229 - Hence, all you vain delights, As short as are the nights, Wherein you spend your folly : There's nought in this life sweet If man were wise to see't, But only melancholy, O sweetest Melancholy...
Page 590 - To mind the inside of a book is to entertain one's self with the forced product of another man's brain. Now I think a man of quality and breeding may be much amused with the natural sprouts of his own.
Page 203 - All, all of a piece throughout ; Thy chase had a beast in view : Thy wars brought nothing about ; Thy lovers were all untrue. 'Tis well an old age is out, And time to begin a new.
Page 161 - Beaumont and Fletcher, of whom I am next to speak, had, with the advantage of Shakespeare's wit, which was their precedent, great natural gifts improved by study; Beaumont especially being so accurate a judge of plays that Ben Jonson, while he lived, submitted all his writings to his censure, and, 'tis thought, used his judgment in correcting, if not contriving all his plots.
Page 182 - ... scene, before he went off the stage : and then after to come forth a squire, and be made a knight : and that knight to travel between the acts, and do wonders...
Page 588 - This reflection moved me to design some characters which should appear ridiculous not so much through a natural folly (which is incorrigible, and therefore not proper for the stage) as through an affected wit : a wit which, at the same time that it is affected, is also false.
Page 76 - Those originate deeds of blood, and begin bad impulses to men. From the moment that their eyes first meet with Macbeth's, he is spell-bound. That meeting sways his destiny. He can never break the fascination. These witches can hurt the body, those have power over the soul. Hecate in Middleton has a son, a low buffoon : the hags of Shakspeare have neither child of their own, nor seem to be descended from any parent. They are foul anomalies, of whom we know not whence they are sprung, nor whether they...
Page 172 - Understand, therefore, a pastoral to be a representation of shepherds and shepherdesses with their actions and passions, which must be such as may agree with their natures, at least not exceeding former fictions and vulgar traditions...