 | Stephen Orgel, Sean Keilen - Literary Criticism - 1999 - 284 pages
...or diminish its effect," he wrote in 1 765 in the Preface to his edition of Shakespeare; spectators come "to hear a certain number of lines recited with just gesture and elegant modulation" (my italics). Warrilow held that the text speaks best for itself, when allowed to, through cultivated... | |
 | Roger D. Sell - Language Arts & Disciplines - 2000 - 372 pages
...happening. In point of fact, and as Johnson also spells out, "the spectators are always in their senses and know, from the first act to the last that the...only a stage, and that the players are only players" (Johnson 1960 [1765]: 38). To which we need only add that the spectators also know that the whole thing... | |
 | Adam Potkay - Happiness - 2000 - 276 pages
...other aesthetic consideration: "The truth is, that the spectators are always in their senses . . . They come to hear a certain number of lines recited with just gesture and elegant modulation" (77) . Hume's essay "Of Tragedy" spells out that which Johnson strongly implies: a passion that would... | |
 | Stanley Wells - Drama - 2002 - 240 pages
...reconsider this presupposition. I Samuel Johnson's claim that theatre audiences 'are always in their senses, and know, from the first act to the last, that the...only a stage, and that the players are only players' is typical of its period.2 When they came to discuss the large matter of the relationship between artistic... | |
 | Stanley Cavell - History - 2002 - 412 pages
...theater? Why are we there? — anyway, not for longer than it takes to answer, ". . . the spectators . . . come to hear a certain number of lines recited with just gesture and elegant modulation." It is not clear to me how seriously this straight-faced remark is meant. Its rhetoric may be that of... | |
 | Catherine M. S. Alexander - 2003 - 504 pages
...reconsider this presupposition. Samuel Johnson's claim that theatre audiences 'are always in their senses, and know, from the first act to the last, that the...only a stage, and that the players are only players' is typical of its period.2 When they came to discuss the large matter of the relationship between artistic... | |
 | Jerrold Levinson - Art - 2005 - 844 pages
...stated by Dr Johnson, who states that 'The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the...only a stage, and that the players are only players. . . . The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and... | |
 | James E. Hirsh - English drama - 2003 - 474 pages
...taking place in the fictional location: "The truth is, that the spectators are always in their senses, and know from the first act to the last, that the...stage is only a stage, and that the players are only players."37 If a playgoer can imagine that events in the fictional world depicted onstage are taking... | |
 | Stanley Cavell - Drama - 2003 - 276 pages
...theater? Why are we there? — anyway, not for longer than it takes to answer, ". . . the spectators . . . come to hear a certain number of lines recited with just gesture and elegant modulation." It is not clear to me how seriously this straight-faced remark is meant. Its rhetoric may be that of... | |
 | Anonym - 2007 - 37 pages
...hinweg sehen konnte. Die Anwesenden „The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the...only a stage, and that the players are only players." (SHAPIRO: 103) Obwohl SHAPIRO diese Ansicht nur zum Teil teilt, da er meint der Zuschauer wäre in... | |
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The truth is that the spectators are always in their senses and know from the first act to the last that the stage is only a stage and that the players are only players. 
