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1st appearance Abington actor Aikin altered audience Baddeley Bannister Barry Bellamy Bensley better bill brought Bulkley called Capt character Charles Clandestine Marriage Clarke Colman Country daughter Davies Dodd Dunstall Edwin enters Fair Falstaff Farce father Foote friends Garrick George gives Green Hamlet Harry Henderson Henry 4th Holland Hopkins Hull humour Husband Jane John Juliet King Lady Lear Lee Lewes Lewis Lord Love Lovers Macbeth Maid managers March Marriage marry Master Mattocks Merchant Miss Macklin Miss Pope Miss Younge Moody Never acted night omitted Opera original Palmer Parsons performed piece Pitt Plautus play Powell printed probably Provoked Queen Quick Reddish rest Richard Rival Romeo says scene School seems servant Shakspeare Shuter Sir John Smith stage supposed taken takes tells theatre Venice wants Ward Weston Wife Wilson wishes woman Woodward written Wroughton Yates
501 ページ - As an actor, confessed without rival to shine, As a wit, if not first, in the very first line; Yet with talents like these and an excellent heart, The man had his failings, a dupe to his art. Like an ill-judging beauty his colours he spread, And beplastered with rouge his own natural red. On the stage he was natural, simple, affecting: 'Twas only that, when he was off, he was acting.
501 ページ - Twas only that when he was off he was acting. With no reason on earth to go out of his way, He turn'd and he varied full ten times a day: Though secure of our hearts, yet confoundedly sick If they were not his own by finessing and trick: He cast off his friends, as a huntsman his pack, For he knew when he pleased he could whistle them back. Of praise a mere glutton, he swallow'd what came, And the puff of a dunce he mistook it for fame; Till his relish grown callous, almost to disease, Who pepper'd...
192 ページ - ... fill the mind with a perpetual tumult of indignation, pity, and hope. There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet's imagination, that the mind, which once ventures within it, is hurried irresistibly along.
545 ページ - As in a theatre, the eyes of men, After a well-graced actor leaves the stage, Are idly bent on him that enters next, Thinking his prattle to be tedious : Even so, or with much more contempt, men's eyes Did scowl on Richard ; no man cried, God save him...
503 ページ - Johnson near the side of the scenes during the tragedy of King Lear : when Garrick came off the stage, he said, ' You two talk so loud you destroy all my feelings.
487 ページ - ... tis so admirable that when it is done no one of the audience would think the poet could have missed it, and yet it was concealed so much before the last scene that any other way would sooner have entered into your thoughts.
192 ページ - Cordelia, that never chang'd word with each other in the Original. This renders Cordelia's Indifference and her Father's Passion in the first Scene probable. It likewise gives Countenance to Edgar's Disguise, making that a generous Design that was before a poor Shift to save his Life.
430 ページ - Gratiano speaks an infinite deal of nothing, more than any man in all Venice : his reasons are as two grains of wheat hid in, two bushels of chaff; you shall seek all day ere you find them ; and when you have found them, they are not worth the search.
607 ページ - to find that the man is rising in the world." The expression was afterwards repeated to Foote, who, in return, gave out, that he would produce the Caliban of literature on the stage. Being informed of this design, Johnson sent word to Foote : " that the theatre being intended for the reformation of vice, he would step from the boxes on the stage, and correct him before the audience." Foote knew the intrepidity of his antagonist, and abandoned the design. No ill will ensued. Johnson used to say:...