The Tragedian: An Essay on the Histrionic Genius of Junius Brutus BoothHurd and Houghton, 1868 - 189 pages |
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Page 31
... scenes ; while Booth is remem- bered for his sustained and all - related con- ception of character , intensely realized , it is true , but chiefly marked by those ideal traits , which not only charmed the listener , but ac- companied ...
... scenes ; while Booth is remem- bered for his sustained and all - related con- ception of character , intensely realized , it is true , but chiefly marked by those ideal traits , which not only charmed the listener , but ac- companied ...
Page 32
... scene , and abolished the dullness of the other players . Filled with the conception of the supernatural himself , he " shook the superflux to them . " In Hamlet , he made the tread and exit of the heaviest " ghost , " airier ; and in ...
... scene , and abolished the dullness of the other players . Filled with the conception of the supernatural himself , he " shook the superflux to them . " In Hamlet , he made the tread and exit of the heaviest " ghost , " airier ; and in ...
Page 38
... scene with Lady Anne , whom Richard had widowed , cajoled , married , and resolved to slay , is simply atro- cious and inhuman . But the play , such as it is , shining with Shakespeare's genius , blotted by Cibber's folly , has always ...
... scene with Lady Anne , whom Richard had widowed , cajoled , married , and resolved to slay , is simply atro- cious and inhuman . But the play , such as it is , shining with Shakespeare's genius , blotted by Cibber's folly , has always ...
Page 39
... foot emerged first into view , Booth appeared upon the scene , enveloped and ab- sorbed in the character of Richard . If tumultuous plaudits extorted from him a momentary recognition of the audience , it was done RICHARD III . 39.
... foot emerged first into view , Booth appeared upon the scene , enveloped and ab- sorbed in the character of Richard . If tumultuous plaudits extorted from him a momentary recognition of the audience , it was done RICHARD III . 39.
Page 40
... scene and the situation . Memory , the prime need of an actor , speedily becomes his greatest dan- ger ; a danger lurking always in repetitions of performance , but one into which our actor seldom if ever fell . He carried distinctness ...
... scene and the situation . Memory , the prime need of an actor , speedily becomes his greatest dan- ger ; a danger lurking always in repetitions of performance , but one into which our actor seldom if ever fell . He carried distinctness ...
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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?