Shakespeare as a Dramatic Artist: With an Account of His Reputation at Various PeriodsC. Scribner's Sons, 1901 - 449 pages |
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Page 42
... Dryden bears witness to the feelings that existed on the part both of poet and of public in his comedy of ' Secret Love or the Maiden Queen . ' This was brought out in March , 1667. In the prologue he boasted of it as having been ...
... Dryden bears witness to the feelings that existed on the part both of poet and of public in his comedy of ' Secret Love or the Maiden Queen . ' This was brought out in March , 1667. In the prologue he boasted of it as having been ...
Page 47
... Dryden and Dryden's brother - in - law , Sir Robert Howard , dif- fered as widely about the unities as they did about the use of ryme . The same arguments were then em- ployed on both sides , which , as we shall discover , had been ...
... Dryden and Dryden's brother - in - law , Sir Robert Howard , dif- fered as widely about the unities as they did about the use of ryme . The same arguments were then em- ployed on both sides , which , as we shall discover , had been ...
Page 48
... Dryden did not seem to be aware that in this last modification of the rules he was practically giving up his own cause . Still , most of the rising generation of dramatists ranged themselves on his side . Howard's was little more than a ...
... Dryden did not seem to be aware that in this last modification of the rules he was practically giving up his own cause . Still , most of the rising generation of dramatists ranged themselves on his side . Howard's was little more than a ...
Page 57
... Dryden . He not only repeated the offence , but ceased to apolo- gize for it , and in fact became somewhat defiant . In the preface to Don Sebastian , ' brought out in 1690 , he unblushingly declared that he had not kept the rules ...
... Dryden . He not only repeated the offence , but ceased to apolo- gize for it , and in fact became somewhat defiant . In the preface to Don Sebastian , ' brought out in 1690 , he unblushingly declared that he had not kept the rules ...
Page 70
... Dryden's ' All for Love . ' In this driven from the position that the argument in favor of the unities . depends upon preserving the deception of the scene , he proceeded to maintain that it was necessarily con- nected with the ...
... Dryden's ' All for Love . ' In this driven from the position that the argument in favor of the unities . depends upon preserving the deception of the scene , he proceeded to maintain that it was necessarily con- nected with the ...
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absurd acted action admiration alteration ancient appeared Aristotle asserted audience belief Ben Jonson blank verse brought censure character Charles Gildon chorus classical classicists comedy comic conform consequence contemporaries controversy Coriolanus criticism Dennis disregard doctrine drama dramatist Dryden effect eighteenth century Elizabethan English stage Essay exhibited existed expressed fact faults favor feelings followed French Furthermore Garrick genius Gildon Greek Hamlet Henry Herringman humorous ignorance instance John Dryden Jonson Julius Cæsar later Lear literature London Macbeth matter modern moral nature never observe the unities opinion Othello passion period piece play playwrights plot poet poetic justice poetry practice preface Printed produced prologue propriety regard remarks representation represented Restoration Romeo and Juliet rules ryme Rymer scene Shake Shakespeare sort speare success taken taste theatre Theatre Royal things tion Titus Andronicus tragedy tragi-comedy tragic truth violation Voltaire words writer written wrote
Popular passages
Page 304 - In sooth, I know not why I am so sad : It wearies me ; you say it wearies you ; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn ; And such a want-wit sadness makes of me. That I have much ado to know myself.
Page 109 - THE stage is more beholding to love than the life of man. For as to the stage, love is ever matter of comedies, and now and then of tragedies ; but in life it doth much mischief — sometimes like a siren, sometimes like a fury.
Page 4 - Muses' anvil; turn the same (And himself with it) that he thinks to frame, Or, for the laurel, he may gain a scorn; For a good poet's made, as well as born.
Page 243 - But what we gained in skill we lost in strength. Our builders were with want of genius curst; The second temple was not like the first; Till you, the best Vitruvius, come at length, Our beauties equal, but excel our strength.
Page 294 - It was the lark, the herald of the morn, No nightingale : look, love, what envious streaks Do lace the severing clouds in yonder east. Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops : I must be gone and live, or stay and die.
Page 4 - Yet must I not give nature all; thy art, My gentle Shakespeare, must enjoy a part. For though the poet's matter nature be, His art doth give the fashion; and, that he Who casts to write a living line, must sweat (Such as thine are) and strike the second heat Upon the Muses...
Page 21 - Now ye shall have three ladies walk to gather flowers, and then we must believe the stage to be a garden. By and by we hear news of shipwreck in the same place, and then we are to blame if we accept it not for a rock. Upon the back of that comes out a hideous monster, with fire and smoke, and then the miserable beholders are bound to take it for a cave. While in the meantime two armies fly in, represented with four swords and bucklers, and then what hard heart will not receive it for a pitched field...
Page 347 - As a general statement, this is quite true, and it is to be hoped that, as it has been in the past, so it will be in the future.
Page 31 - First, if it be objected, that what I publish is no true poem, in the strict laws of time, I confess it : as also in the want of a proper chorus ; whose habit and moods are such and so difficult, as not any, whom I have seen, since the ancients, no, not they who have most presently affected laws, have yet come in the way of.
Page 20 - For where the stage should always represent but one place, and the uttermost time presupposed in it should be, both by Aristotle's precept and common reason, but one day, there is both many days and places, inartificially [unskilfully] imagined.