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Page 28
... critics , except those who are either remarkable for not possessing a bump of reverence , or are preachers of a morality which is offended by his royalism and epicureanism . The aim of criticism has been to show , since Shakespeare ...
... critics , except those who are either remarkable for not possessing a bump of reverence , or are preachers of a morality which is offended by his royalism and epicureanism . The aim of criticism has been to show , since Shakespeare ...
Page 315
... criticism , and when not , they are still apt to be useful as aids to graduating that asinometer for measuring the public intelligence which no critic or playwright should be without . What I overheard last night may not seem of much ...
... criticism , and when not , they are still apt to be useful as aids to graduating that asinometer for measuring the public intelligence which no critic or playwright should be without . What I overheard last night may not seem of much ...
Page 349
... criticism written for the public when the critic first takes ac- count of an author's reputation , and then allows ( generously ) for his intentions . Mr. Agate let us know that his own impressions of Within the Gates were violently ...
... criticism written for the public when the critic first takes ac- count of an author's reputation , and then allows ( generously ) for his intentions . Mr. Agate let us know that his own impressions of Within the Gates were violently ...
Contents
THE PRODUCTION OF POETIC DRAMA February | 3 |
The Death of Tintagiles December 27th 1913 | 54 |
DRAMA AND DOSTOEVSKY The Idiot Septem | 91 |
Copyright | |
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acter actors actress admirable Apple Cart artist audience beauty better Cæsar char character comedy course criticism curtain Cymbeline dark 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 interpretation 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 wonder words write young youth