Memoirs of the Life of David Garrick, Esq: Interspersed with Characters and Anecdotes of His Theatrical Contemporaries : the Whole Forming a History of the Stage : which Includes a Period of Thirty-six Years, 1. ciltWells and Lilly, 1818 |
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Aaron Hill acted action actor actress admired applause approbation audience Barry believe Ben Johnson Cæsar called Churchill Cleone Clive Colley Cibber comedians comedy comick Covent-garden Creusa critical David Garrick distress divert dramatick pieces Drury-lane theatre Dublin elegant endeavoured entertainment excelled fable farce favour favourite fortune friends Garrick gave genius gentleman give Goodman's-fields Harlequin humour inferiour Ireland James Lacy Johnson king knew laboured Lacy Lady lord lord chamberlain Macbeth Macklin managers of Drury-lane manner ment merit never night obliged Oroonoko pamphlet pantomime passion patent pathetick person play players playhouse pleased poem Pritchard profits publick Quin racter Ralph rehearsal rendered representation resentment revived revived play Rich Richard the Third rick Romeo and Juliet Rosciad Roscius satire scenes Shakspeare Shakspeare's Sheridan shew Smollet soon spirit stage success superiour talents taste theatrical thought tion tragedy voice Wilkes Winter's Tale Woffington Woodward writer wrote young
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Sayfa 92 - Jonson came, instructed from the school, To please in method, and invent by rule; His studious patience and laborious art, By regular approach, essay'd the heart: Cold approbation gave the lingering bays; For those who durst not censure, scarce could praise. A mortal born, he met the general doom, But left, like Egypt's kings, a lasting tomb.
Sayfa 93 - And chase the new-blown bubbles of the day. Ah ! let not Censure term our fate our choice, The stage but echoes back the public voice ; The drama's laws, the drama's patrons give, For we that live to please, must please to live. Then prompt no more the follies you decry, As tyrants doom their tools of guilt to die...
Sayfa 93 - Song confirm'd her sway. But who the coming changes can presage, And mark the future periods of the stage? Perhaps if skill could distant times explore, New Behns, new Durfeys, yet remain in store; Perhaps where Lear has rav'd, and Hamlet dy'd, On flying cars new sorcerers may ride; Perhaps (for who can guess th' effects of chance) Here Hunt may box, or Mahomet may dance.
Sayfa 24 - Johnson to try his fate with a tragedy, and to see to get himself employed in some translation either from the Latin or the French.
Sayfa 236 - Here let me bend, great Dryden! at thy shrine, Thou dearest name to all the Tuneful Nine! What if some dull lines in cold order creep, And with his theme the poet seems to sleep?
Sayfa 209 - The exhibitions of the stage were improved to the most exquisite entertainment by the talents and management of Garrick, who greatly surpassed all his predecessors of this and perhaps every other nation, in his genius for acting ; in the sweetness and variety of his tones, the irresistible magic of his eye, the fire and vivacity of his action, the elegance of attitude, and the whole pathos of expression.
Sayfa 92 - The wits of Charles found easier ways to fame, Nor wish'd for Jonson's art, or Shakespeare's flame; Themselves they studied; as they felt, they writ; intrigue was plot, obscenity was wit.
Sayfa 94 - Punctuality in attendance at rehearsals was exacted and complied with, and as much due attendance paid to the business of the scene as during the time of acting a play. Those players who had fallen into an unlucky habit of imperfection in their parts, and of being obliged to supply that defect by assuming a bold front, and forging matter of their own, Mr.
Sayfa 93 - But forc'd, at length, her ancient reign to quit, She saw great Faustus lay the ghost of Wit ; Exulting Folly hail'd the joyful day, And Pantomime and Song confirm'd her sway.
Sayfa 127 - ... greatness. — His next character was Richard, after which he took occasion to quarrel with the manager, and went to London ; he made his debut there in Richard, with distinguished advantage. Mossop had a strong and harmonious voice, which could rise from the lowest note to the highest pitch of sound, and was, indeed one of the most comprehensive ever heard.