Critical Essays on Dramatic PoetryL. Davis and C. Reymers, 1761 - 274 pages |
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Page 10
... actors cannot pass from one apartment to another before the fpectators , as the Greeks and Romans used to do , in order to preserve , at the fame time , unity of place and probability . How could we dare , for example , to in- troduce ...
... actors cannot pass from one apartment to another before the fpectators , as the Greeks and Romans used to do , in order to preserve , at the fame time , unity of place and probability . How could we dare , for example , to in- troduce ...
Page 25
... actors who were unac- customed to fuch folemn dirges ; and , in- stead of applauding the intent , the execu- tion was laughed at . This is what hindered me from making the senators speak in Bru- tus , when Titus is accused before them ...
... actors who were unac- customed to fuch folemn dirges ; and , in- stead of applauding the intent , the execu- tion was laughed at . This is what hindered me from making the senators speak in Bru- tus , when Titus is accused before them ...
Page 28
... actor and the voice and figure of an actress , have met with fuccefs on our theatres . How many ill wrote plays have had more reprefentations than Cinna + or Britannicus ? but who has ever got by heart a line of any of those flimfy per ...
... actor and the voice and figure of an actress , have met with fuccefs on our theatres . How many ill wrote plays have had more reprefentations than Cinna + or Britannicus ? but who has ever got by heart a line of any of those flimfy per ...
Page 35
... actors of Paris to admit a chorus three or four times only , during the whole play . It was ftill more difficult to make them accept a tragedy almoft entirely void of amorous intrigue . The actreffes laughed at me when they per- ceived ...
... actors of Paris to admit a chorus three or four times only , during the whole play . It was ftill more difficult to make them accept a tragedy almoft entirely void of amorous intrigue . The actreffes laughed at me when they per- ceived ...
Page 51
... actor , if they are not so many lines which tend to one common center , the intereft is double ; and what is called action upon the ftage , is alfo double . Let us therefore keep up as Corneille did , to the three unities , in which ...
... actor , if they are not so many lines which tend to one common center , the intereft is double ; and what is called action upon the ftage , is alfo double . Let us therefore keep up as Corneille did , to the three unities , in which ...
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Common terms and phrases
Æneid affert againſt alfo almoſt alſo Alzira ancient anſwer Athens beauties becauſe beſt Brutus Cæfar cardinal Richelieu caufe chineſe Cinna comedy Corneille cuſtom defire Edipus engliſh Euripides expreffed faid fame fatisfied faults fcene feems fentiments feveral fhall fhew fhould fimple fince firft firſt fome fometimes foon fpectacle France french ftage ftill fubject fuccefs fuch fuperior gallantry genius greateſt Greeks himſelf hiſtory honour imitated interefting itſelf laft laſt lefs manner Mariamne Merope moft monfieur de Voltaire moſt Motte mufic muft muſt myſelf nation nature neceffary notwithſtanding paffages paffion Paris perfonages perfons Phædra philofopher piece play pleaſed pleaſure poet poetry poffefs prefent profe publiſhed Racine raiſe reafon refpects reprefent repreſentation ridicule ſay ſcene ſeems Semiramis Shakeſpear ſhall ſome Sophocles ſpeak ſtage Tartuffe taſte theatre thefe themſelves theſe thofe thoſe three unities tragedy tragic tranflated uſe verfe verſes Virgil Voltaire whofe whoſe write wrote Zara
Popular passages
Page 15 - Had you rather Caesar were living and die all slaves, than that Caesar were dead, to live all free men? As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him : but, as he was ambitious, I slew him. There is tears for his love; joy for his fortune; honour for his valour; and death for his ambition.
Page 16 - Here comes his body, mourned by Mark Antony: who, though he had no hand in his death, shall receive the benefit of his dying, a place in the commonwealth ; As which of you shall not ? With this I depart ; That, as I slew my best lover for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death.
Page 15 - Romans, countrymen, and lovers ! hear me for my cause, and be silent, that you may hear : believe me for mine honour, and have respect to mine honour, that you may believe : censure me in your wisdom, and awake your senses, that you may the better judge. If there be any in this assembly, any dear friend of Caesar's, to him I say that Brutus' love to Caesar was no less than his.
Page 71 - Moi-même, pour tout fruit de mes soins superflus, Maintenant je me cherche, et ne me trouve plus': Mon arc, mes javelots, mon char, tout m'importune...
Page 71 - Présente, je vous fuis : -absente, je vous trouve; Dans le fond des forêts votre image me suit; La lumière du jour, les ombres de la nuit, Tout retrace à mes yeux les charmes que j'évite ; Tout vous livre à l'envi le rebelle Hippolyte.
Page 14 - I am inclined to think, this opinion proceeded originally from the zeal of the partizans of our author and Ben Jonson ; as they endeavoured to exalt the one at the expence of the other.
Page 16 - CESAR'S Body. Here comes his body, mourned by Mark Antony : who, though he had no hand in his death, shall receive the benefit of his dying...
Page 105 - Come to me, come, my soldier, to my arms! You've been too long away from my embraces; But, when I have you fast, and all my own, With broken murmurs, and with amorous sighs, I'll say, you were unkind, and punish you, And mark you red with many an eager kiss.
Page 71 - Asservi maintenant sous la commune loi, Par quel trouble me vois-je emporté loin de moi! Un moment a vaincu mon audace imprudente : Cette âme si superbe est enfin dépendante.
Page 11 - How beautiful is death, when earn'd by virtue ! Who would not be that youth ? what pity is it That we can die but once to serve our country...