The Tragedian: An Essay on the Histrionic Genius of Junius Brutus BoothHurd and Houghton, 1868 - 189 pages |
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Page 16
... method ; an imaginative actor , never . One takes the words of the text ( always premis- ing that he is not a poor copy of some empirical precedent ) , reasons upon , and infers the meaning , and so extracts the character . The result ...
... method ; an imaginative actor , never . One takes the words of the text ( always premis- ing that he is not a poor copy of some empirical precedent ) , reasons upon , and infers the meaning , and so extracts the character . The result ...
Page 20
... method which defied the set rules of elocution . It transcended music . It " brought airs from heaven and blasts from hell . " It struggled and smothered in the pent fires of passion , or " " darted from them as in tongues of flame 20 ...
... method which defied the set rules of elocution . It transcended music . It " brought airs from heaven and blasts from hell . " It struggled and smothered in the pent fires of passion , or " " darted from them as in tongues of flame 20 ...
Page 23
... method has reached us . The anecdote that Dr. Johnson was overwhelmed by the pathos of his perform- ance in Lear , is the most noteworthy cir- cumstance of his life upon the stage . But Garrick played Tate's perversion , not Shake ...
... method has reached us . The anecdote that Dr. Johnson was overwhelmed by the pathos of his perform- ance in Lear , is the most noteworthy cir- cumstance of his life upon the stage . But Garrick played Tate's perversion , not Shake ...
Page 30
... method was limitary . It was analytic and passionate ; not , in the highest sense , intel- lectual and imaginative . Our final authority is Hazlitt , who has given , in his work on the " English Stage , " by far the most thorough ...
... method was limitary . It was analytic and passionate ; not , in the highest sense , intel- lectual and imaginative . Our final authority is Hazlitt , who has given , in his work on the " English Stage , " by far the most thorough ...
Page 35
... method , sometimes an irresistible temptation . The histrionic art was to him a cultus , a religion . Not to speak it profanely , he offered himself a perpetual sacrifice to the god of terror and of beauty ; he staked " soul and body on ...
... method , sometimes an irresistible temptation . The histrionic art was to him a cultus , a religion . Not to speak it profanely , he offered himself a perpetual sacrifice to the god of terror and of beauty ; he staked " soul and body on ...
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Common terms and phrases
acter action actor appeared audience Banquo bare bodkin beauty blood Booth gave Brabantio brain Brutus Cassio char character charm City Madam Cordelia delight Desdemona dramatic Edmund Kean emotion emphasis expression face father fear feeling filled Garrick genius gesture ghost Goneril grandeur grief Guest Hamlet hand heard heart heaven histrionic Iago Iago's imagination intense intonation Kean's king kingly Lady Lady Macbeth Lamb's Lear light lines listener living look Lord Lovel Macbeth madness manner meaning melancholy mood murder nature ness never noble OCTAVIAN Othello pass passage passion pathos pause pay Old Debts performance Pescara phrase play players Polonius preter Regan resonant Richard Roderigo scene scorn seemed Shake Shakespeare Shylock silent Sir Giles soliloquy soul sound speak speech spirit stage stroke subtle supernatural sword tender theatre thee Third Act thou thought tion tones touch TRAGEDIAN tragedy truth uttered voice wonder words
Popular passages
Page 120 - You owe this strange intelligence? or why Upon this blasted heath you stop our way With such prophetic greeting? Speak, I charge you. [Witches vanish. Ban. The earth hath bubbles, as the water has, And these are of them.
Page 71 - Horatio, what a wounded name, Things standing thus unknown, shall live behind me. If thou didst ever hold me in thy heart, Absent thee from felicity awhile, And in this harsh world draw thy breath in pain, To tell my story.
Page 63 - What may this mean, That thou, dead corse, again in complete steel, Revisit'st thus the glimpses of the moon, Making night hideous; and we fools of nature So horridly to shake our disposition With thoughts beyond the reaches of our souls?
Page 54 - My father's spirit in arms ! all is not well ; I doubt some foul play: 'would, the night were come! Till then sit still, my soul : Foul deeds will rise, Though all the earth o'erwhelm them, to men's eyes.
Page 101 - Twere now to be most happy, for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate.
Page 65 - Come, come, and sit you down ; you shall not budge ; You go not till I set you up a glass Where you may see the inmost part of you.
Page 105 - Tis not to make me jealous, To say — my wife is fair, feeds well, loves company, Is free of speech, sings, plays, and dances well; Where virtue is, these are more virtuous: Nor from mine own weak merits will I draw The smallest fear, or doubt of her revolt; For she had eyes, and chose me...
Page 90 - Look, where he comes ! Not poppy, nor mandragora, Nor all the drowsy syrups of the world, Shall ever medicine thee to that sweet sleep Which thou ow'dst yesterday.
Page 12 - ... the corruptions and abuses of mankind. What have looks, or tones, to do with that sublime identification of his age with that of the heavens themselves, when, in his reproaches to them for conniving at the injustice of his children, he reminds them that " they themselves are old "? What gesture shall we appropriate to this?
Page 59 - tis not to come ; if it be not to come, it will be now ; if it be not now, yet it will come ; the readiness is all ; since no man has aught of what he leaves, what is't to leave betimes?