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 141
... seems to be present in some degree throughout the play . We seem to trace the ten- dency which , a few years later , produced Ariel and Caliban [ in The Tempest ] , the tendency of imagination to analyse and abstract , to decompose ...
... seems to be present in some degree throughout the play . We seem to trace the ten- dency which , a few years later , produced Ariel and Caliban [ in The Tempest ] , the tendency of imagination to analyse and abstract , to decompose ...
Page 247
... seems markedly unfortunate . The only other fault we have to find is a matter of stage management rather than of acting . There seems to us to be a certain want of digni- ty in the double action which Mr. Booth employs with his sword in ...
... seems markedly unfortunate . The only other fault we have to find is a matter of stage management rather than of acting . There seems to us to be a certain want of digni- ty in the double action which Mr. Booth employs with his sword in ...
Page 248
... seems to give his evidence against Cassio . Close upon this , and upon his seemingly friendly cheering of Cassio , comes the soliloquy ending with " and out of her own goodness make the net That shall enmesh them all ” [ II . iii . 361 ...
... seems to give his evidence against Cassio . Close upon this , and upon his seemingly friendly cheering of Cassio , comes the soliloquy ending with " and out of her own goodness make the net That shall enmesh them all ” [ II . iii . 361 ...
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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