Some Account of the English Stage: From the Restoration in 1660 to 1830, 8. ciltH.E. Carrington, 1832 |
Kitabın içinden
72 sonuçtan 1-5 arası sonuçlar
Sayfa 10
... season talking with " the Queen , and we might hear her very loud , but " what she said we could not tell . " Norfolk tells Wolsey it is the King's pleasure he should confine himself . " To Esher house , my lord of Winchester's ...
... season talking with " the Queen , and we might hear her very loud , but " what she said we could not tell . " Norfolk tells Wolsey it is the King's pleasure he should confine himself . " To Esher house , my lord of Winchester's ...
Sayfa 18
... season of Mrs. Litchfield's app . on this stage , she will take leave of her friends in a Farewell Address - in the course of the evening Garrick's Ode by Cooke . 22. Mr. and Mrs. H. Johnston's bt . Under the patronage of the Duke of ...
... season of Mrs. Litchfield's app . on this stage , she will take leave of her friends in a Farewell Address - in the course of the evening Garrick's Ode by Cooke . 22. Mr. and Mrs. H. Johnston's bt . Under the patronage of the Duke of ...
Sayfa 19
... season -but she was engaged at the Hay . , in 1807 - she played 6 nights at Bath , in May 1810 - her last app . seems to have been at the Hay . , on Oct. 8 , 1812 , when she played Æmilia . Her Characters - selection only . C. G. 1797 ...
... season -but she was engaged at the Hay . , in 1807 - she played 6 nights at Bath , in May 1810 - her last app . seems to have been at the Hay . , on Oct. 8 , 1812 , when she played Æmilia . Her Characters - selection only . C. G. 1797 ...
Sayfa 52
... season . = 26. For bt . of Mr. and Mrs. C. Kemble . Ham- let = Kemble : Laertes = C. Kemble : Horatio = Mur- ray : Ophelia = Mrs. C. Kemble , 1st time with Personation . Lord Henry Melvin Lady Julia = Mrs. C. Kemble . = Harry 27 ...
... season . = 26. For bt . of Mr. and Mrs. C. Kemble . Ham- let = Kemble : Laertes = C. Kemble : Horatio = Mur- ray : Ophelia = Mrs. C. Kemble , 1st time with Personation . Lord Henry Melvin Lady Julia = Mrs. C. Kemble . = Harry 27 ...
Sayfa 81
... season . 9. Road to Ruin . : Mrs. Siddons ' 1st app . this Goldfinch = Jones , from Dub- lin , 1st app . Sophia - Miss Norton - with , never acted there , Of Age To - Morrow . Frederick = Jones : Piffleberg = : Liston Molkus = Molkus ...
... season . 9. Road to Ruin . : Mrs. Siddons ' 1st app . this Goldfinch = Jones , from Dub- lin , 1st app . Sophia - Miss Norton - with , never acted there , Of Age To - Morrow . Frederick = Jones : Piffleberg = : Liston Molkus = Molkus ...
Diğer baskılar - Tümünü görüntüle
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.