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 |
From inside the book
Results 1-3 of 86
Page 216
... speech was admirably clear ; that it was far more natural than the speech of most actors of his day ; and that his voice had an extraordinary emotional range , beauty , and power . His great fault , exaggeration , seems to have risen ...
... speech was admirably clear ; that it was far more natural than the speech of most actors of his day ; and that his voice had an extraordinary emotional range , beauty , and power . His great fault , exaggeration , seems to have risen ...
Page 468
... speech as lively and fluent as their physical action . The result was that the dialogue did not appear the effect of study and care , but the natural idiom of the characters in the particular situa- tions . It is a long time since ...
... speech as lively and fluent as their physical action . The result was that the dialogue did not appear the effect of study and care , but the natural idiom of the characters in the particular situa- tions . It is a long time since ...
Page 470
... speech from forty lines to six ; that of 1941 omitted the Friar altogether after he had left Juliet ; and Peter Brook's production of 1947 deleted every- thing after Juliet's last words and , then , simply brought on the Chorus to ...
... speech from forty lines to six ; that of 1941 omitted the Friar altogether after he had left Juliet ; and Peter Brook's production of 1947 deleted every- thing after Juliet's last words and , then , simply brought on the Chorus to ...
Other editions - View all
Common terms and phrases
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