Some Account of the English Stage: From the Restoration in 1660 to 1830, 8. ciltH.E. Carrington, 1832 |
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51 sonuçtan 1-5 arası sonuçlar
Sayfa 21
... appears that Alphonso's son is alive — Theodore is of course no longer in danger — this musical Farce was written by Hook - it is an indiffe- rent piece - the whole merit of it consists in the cha- racter of Philip who assumes a variety ...
... appears that Alphonso's son is alive — Theodore is of course no longer in danger — this musical Farce was written by Hook - it is an indiffe- rent piece - the whole merit of it consists in the cha- racter of Philip who assumes a variety ...
Sayfa 33
... appears from the Gazette that the King has allowed Mr. Hogsflesh to take the name of Bacon - worse Farces than this have been success- ful -- Elliston acted Mr. H— = == = 16. Know your own Mind . Millamour Elliston : Dashwould Bannister ...
... appears from the Gazette that the King has allowed Mr. Hogsflesh to take the name of Bacon - worse Farces than this have been success- ful -- Elliston acted Mr. H— = == = 16. Know your own Mind . Millamour Elliston : Dashwould Bannister ...
Sayfa 47
... appears " from one of Heywood's Epigrams that ache had " sometimes a soft pronunciation- " Into what place soever H may pike him , " Wheresoever thou find ache thou shalt not like " him . " Harris approved of Kemble's obstinacy , as it ...
... appears " from one of Heywood's Epigrams that ache had " sometimes a soft pronunciation- " Into what place soever H may pike him , " Wheresoever thou find ache thou shalt not like " him . " Harris approved of Kemble's obstinacy , as it ...
Sayfa 87
... appears that this supposed marriage was only a stratagem - Algernon marries Cicely , and is reconciled to his father- Modern proves to be legitimate- and consequently heir to his father's title and property - he marries Selina - this is ...
... appears that this supposed marriage was only a stratagem - Algernon marries Cicely , and is reconciled to his father- Modern proves to be legitimate- and consequently heir to his father's title and property - he marries Selina - this is ...
Sayfa 177
... appear that any other advance took place for about 70 years - at last the raised prices gradually became the regular prices - thus the matter rested for about 50 or 60 years - in 1791-1792 when the D. L. Company removed to the Opera ...
... appear that any other advance took place for about 70 years - at last the raised prices gradually became the regular prices - thus the matter rested for about 50 or 60 years - in 1791-1792 when the D. L. Company removed to the Opera ...
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Sık kullanılan terimler ve kelime öbekleri
1st app 3d act 4th act Abbott alteration Bannister Baron Barrymore Bartley Bath Bengough Betty Beverley Blanchard Booth Capt Castle character Charles Chatterley Conway Cooke Coriolanus Count daughter Davenport Davison Dowton Duke Egerton Elliston Emery Emily Falstaff Farce father Fawcett Gibbs Glover Hamlet Harley Henry 4th Honey Moon Iago Isabella Jane Shore John Johnston Jones Jordan Julia Juliet Julius Cæsar Kean Kemble acted King Lady Macbeth Liston Lord Lovegrove Macready marry Mathews Merchant of Venice Miss Brunton Miss Duncan Miss Foote Miss Jameson Miss Kelly Miss Norton Miss O'Neill Miss Smith Munden Murray Never acted night Opera Orger Othello Oxberry Penley piece Pizarro play Pope Powell printed Queen revived Richard 3d Romeo Romeo and Juliet says scene lies School for Scandal servant Shakspeare Siddons acted Simmons stage Stanley Terry theatre times-the Tokely Wallack Warde Weston wife Wrench written Wroughton Young
Popüler pasajlar
Sayfa 229 - 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.
Sayfa 13 - Well, well, Master Kingston," quoth he, "I see the matter against me how it is framed; but if I had served God as diligently as I have done the king, he would not have given me over in my grey hairs.
Sayfa 229 - He that without diminution of any other excellence shall preserve all the unities unbroken, deserves the like applause with the architect who shall display all the orders of architecture in a citadel without any deduction from its strength. But the principal beauty of a citadel is to exclude the enemy, and the greatest graces of a play are to copy nature and instruct life.
Sayfa 578 - I remember the players have often mentioned it as an honour to Shakespeare, that in his writing (whatsoever he penned) he never blotted out a line. My answer hath been, " Would he had blotted a thousand," which they thought a malevolent speech.
Sayfa 577 - Soul of the age! The applause! delight! the wonder of our stage! My Shakespeare rise! I will not lodge thee by Chaucer, or Spenser, or bid Beaumont lie...
Sayfa 397 - I have stood firm for the corps, into which I enrolled myself, and never disgraced my colours by abandoning the cause of the legitimate comedy, to whose service I am sworn, and in whose defence I have kept the field for nearly half a century...
Sayfa 228 - To the unities of time and place he has shown no regard, and perhaps a nearer view of the principles on which they stand will diminish their value and withdraw from them the veneration which, from the time of Corneille, they have very generally received, by discovering that they have given more trouble to the poet than pleasure to the auditor.
Sayfa 265 - I danced forward ; but it struck home, and here, and in an instant. Be such mere women, who with shrieks and outcries can vow a present end to all their sorrows: yet live to court new pleasures, and outlive them. They are the silent griefs which cut the heartstrings; let me die smiling.
Sayfa 572 - The New Inn: or, the Light Heart, a Comedy. As it was never Acted, but most negligently Played by some, the KING'S SERVANTS; and more squeamishly beheld and censur'd by others, the KING'S SUBJECTS, 1629.
Sayfa 229 - Time is, of all modes of existence, most obsequious to the imagination ; a lapse of years is as easily conceived as a passage of hours. In contemplation we easily contract the time of real actions, and therefore willingly permit it to be contracted when we only see their imitation.