A View of the English Stage: Or, A Series of Dramatic Criticisms |
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Page xvi
... character fell off , or was discomposed , which would have produced a burst of laughter at any com- mon actor to whom such an accident had happened ; but such was the deep interest in the character , and such the power of rivetting the ...
... character fell off , or was discomposed , which would have produced a burst of laughter at any com- mon actor to whom such an accident had happened ; but such was the deep interest in the character , and such the power of rivetting the ...
Page 1
... character of Shylock . ' For voice , eye , action , and expression , no actor has come out for many years at all equal to him . The applause , from the first scene to the last , was general , loud , and uninterrupted . Indeed , the very ...
... character of Shylock . ' For voice , eye , action , and expression , no actor has come out for many years at all equal to him . The applause , from the first scene to the last , was general , loud , and uninterrupted . Indeed , the very ...
Page 1
... character of Shylock . ' For voice , eye , action , and expression , no actor has come out for many years at all equal to him . The applause , from the first scene to the last , was general , loud , and uninterrupted . Indeed , the very ...
... character of Shylock . ' For voice , eye , action , and expression , no actor has come out for many years at all equal to him . The applause , from the first scene to the last , was general , loud , and uninterrupted . Indeed , the very ...
Page 2
... character of Shylock . It would be endless to point out individual beauties , where almost every passage was received with equal and deserved applause . We thought , in one or two instances , the pauses in the voice were too long , and ...
... character of Shylock . It would be endless to point out individual beauties , where almost every passage was received with equal and deserved applause . We thought , in one or two instances , the pauses in the voice were too long , and ...
Page 4
... character of Richard is the most difficult , so we think he displayed most power in it . It is possible to form a higher conception of this character ( we do not mean from seeing other actors , but from reading Shakespeare ) than that ...
... character of Richard is the most difficult , so we think he displayed most power in it . It is possible to form a higher conception of this character ( we do not mean from seeing other actors , but from reading Shakespeare ) than that ...
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acting action actor admirable allusion Alsop appearance audience Bartley beautiful Beggar's Beggar's Opera better character Charles Kemble comedy comic Comus Coriolanus Covent Garden critic début delight Dowton dramatic Drury Lane Drury-Lane Duke Edited effect English excellent expression farce favour favourite feeling French gaiety genius gentleman give grace Hamlet Harley Haymarket Haymarket Theatre Hazlitt humour Iago Ibid indifferent interest Isaac Pocock John Kean Kean's Kemble Kemble's King Lady Liston Lord lover Macbeth manner Mardyn mind Miss Kelly Miss O'Neill Miss Stephens Molière moral Munden nature never night October Opera Oroonoko Othello pantomime passages passion performance person piece play poet produced revived Richard Richard III scene seemed sense sentiment Shakespeare Shylock Siddons singing Sir Giles song spirit stage sung Theatre theatrical thing thou thought tion Tokely tone tragedy Translated voice vols Wallack whole Wife words young
Popular passages
Page 66 - Think, my lord ! By heaven, he echoes me. As if there were some monster in his thought Too hideous to be shown.
Page 62 - Ay, there's the point :' — as — to be bold with you — Not to affect many proposed matches Of her own clime, complexion, and degree, Whereto we see in all things nature tends, — Foh ! one may smell in such a will most rank, Foul disproportion, thoughts unnatural...
Page 67 - Dangerous conceits are, in their natures, poisons, Which, at the first, are scarce found to distaste ; But, with a little act upon the blood, Burn like the mines of sulphur.
Page 14 - If folly grow romantic, I must paint it. Come, then, the colours and the ground prepare ! Dip in the rainbow, trick her off in air ; Choose a firm cloud before it fall, and in it Catch, ere she change, the Cynthia of this minute.