Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 11Gale Research Company, 1984 |
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Page 81
... Cordelia in order to establish the Fool's off - stage character . " He is a wor- ried man and terribly tired of all the desperate foolery that he has to carry on all day long , " the actor explained . In the scene that followed , we saw ...
... Cordelia in order to establish the Fool's off - stage character . " He is a wor- ried man and terribly tired of all the desperate foolery that he has to carry on all day long , " the actor explained . In the scene that followed , we saw ...
Page 158
... Cordelia is a paradigm of virtue or an " individualized character , basically admirable but with un- mistakable flaws . " With few exceptions , she notes , Cordelia was generally represented on stage as a " meek saint , " until Lena ...
... Cordelia is a paradigm of virtue or an " individualized character , basically admirable but with un- mistakable flaws . " With few exceptions , she notes , Cordelia was generally represented on stage as a " meek saint , " until Lena ...
Page 159
... Cordelia are more than casual have generally emphasized her flaws rather than , or in addi- tion to , her virtues . In the eighteenth century , for example , Francis Gentleman was not content with the sympathetic phrase about filial ...
... Cordelia are more than casual have generally emphasized her flaws rather than , or in addi- tion to , her virtues . In the eighteenth century , for example , Francis Gentleman was not content with the sympathetic phrase about filial ...
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action actor admirable appeared audience Barry beauty Booth Brabantio Brook Cassio century character Cibber conception Cordelia costumes critic curtain daughters David Garrick Desdemona Donald Wolfit dramatic Drury Lane Edgar Edmund Edmund Kean Edwin Booth effect Elizabethan Emilia emotional essay date expression eyes feel Fool Forrest Garrick gesture give Gloucester Goneril heart Henry Irving Iago Iago's imagination interpretation Irving Irving's jealousy John Gielgud Kean Kean's Kemble Kent King Lear Lear's lines London look Macready mance ment mind Miss Moor nature never night noble Old Vic Olivier Olivier's Othello passion pathos performance Peter Brook play's players portrayal rage Regan review date Robeson Roderigo role Romeo and Juliet Salvini scene Scofield seems sense Shake Shakespeare speak speech stage storm Stratford suggested Theatre theatrical thing thou thought tion Tommaso Salvini tone tragedy tragic voice whole Wolfit words