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p o , PICTORIAL SHAKESPEARE, 1880-1
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SYNOPSIS This thesis ie in two volu
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VOLU.TE 0:iE Pace. Introduction i A
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11 of habits and jnnmivra, and ic h
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IV ACKHOWL.EnGEM PMT S I am gratefu
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vi 16 .^ccne from Daly's production
- Page 13 and 14: In 1882 J.M.Stoddart, a Philadelphi
- Page 15 and 16: artistic achievement is considerabl
- Page 17 and 18: is of cource and obviously removed
- Page 19 and 20: similar kind sought for the restora
- Page 21 and 22: 11 in the earliest dawn of literatu
- Page 23 and 24: 13 all conventional circles. It was
- Page 25 and 26: and in Gothic times": In tho;:e tii
- Page 27 and 28: Illustration 1 (b) Hughes, April Lo
- Page 29 and 30: Illust ation 2 (b) Wate timiBe T Th
- Page 31 and 32: 17 Moore's independence took him to
- Page 33 and 34: 19 fetishism and the worship of lit
- Page 35 and 36: 21 felt to be essential in evoking
- Page 37 and 38: 23 the now movement was advocated a
- Page 39 and 40: 25 the wrong effect in a room, wher
- Page 41 and 42: 27 Chapter Two SHAKESPEARE CRITICIS
- Page 43 and 44: 29 possesses - and Mr Swinburne, th
- Page 45 and 46: 31 T '..e recognise the speech of t
- Page 47 and 48: ihis tells us nv ch more about £>.
- Page 49 and 50: 35 (XVII .LGO-Lll,) . The Irving re
- Page 51 and 52: 37 This is a typical Wildean parado
- Page 53 and 54: 39 autocrat "not merely should desi
- Page 55 and 56: 41 series of "efforts to interpret
- Page 57 and 58: 4 O J before you, , ith ell their j
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- Page 61 and 62: 47 This view is re^-examined by the
- Page 63: 49 This description might be of the
- Page 67 and 68: 53 Forget six counties overhung v/i
- Page 69 and 70: 55 The first volume of the New Shak
- Page 71 and 72: 57 Chapter Three THEATRICAL WRITING
- Page 73 and 74: 59 - and their version of The Oorsi
- Page 75 and 76: 61 at the Adelphi - it had a simpli
- Page 77 and 78: 63 in 1882, but v;ith the exception
- Page 79 and 80: Ped.ro «s speech is tja example of
- Page 81 and 82: Philip Edgar, 'a free-thinking arti
- Page 83 and 84: ensuing deceide turned to the serio
- Page 85 and 86: 71 Scott responded to the "genuine
- Page 87 and 88: 73 Phenyl had. inherited a fortune
- Page 89 and 90: 75 Melodrama and farce deal in simp
- Page 91 and 92: 77 The dramatists of the eighteen-e
- Page 93 and 94: 79 perhaps the whole theory of come
- Page 95 and 96: 81 A disproportionate outlay on sce
- Page 97 and 98: 83 Both managements had ^recourse t
- Page 99 and 100: 85 A little of this goes a long way
- Page 101 and 102: Harley Granville-Barker, whose dism
- Page 103 and 104: peculiar talents* In Gilbert's case
- Page 105 and 106: 91 Chapter One THE LYCEUM STYLE AND
- Page 107 and 108: 93 Irving wrote to Austin Brereton
- Page 109 and 110: 95 himself from such gossip. In Dec
- Page 111 and 112: In this chapter Irving's personal a
- Page 113 and 114: 99 round sentences and to place sou
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101 that managers did not force sta
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in a manner which prompted Sala t i
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104 depth in the second act - it wa
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106 moderate pace, might be spoken
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108 sensuous, lacking the "educatio
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110 j?or the moat part low tones an
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Illustration 5 Sa-'-gent, Following
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112 a lino in this short, ~rer.
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114 became visible in the lightning
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116 a reaction of "horror" to Lady
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118 as having pale faces, and in th
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120 The next stage in the developme
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121 fairly giving way under tho men
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123 majority o, its contemporaries
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125 The short scene which bo^rn the
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1912, and had witnessed the work of
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129 An undistinguished but commerci
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131 had the honour of arranging the
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133 "legitimate" ones, and lago was
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135 he was continuing hir work as a
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137 All move and walk as though the
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139 wore adequate consolation for t
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antiquary, it is due to him to let
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143 10 issue of The Dramatic flovi.
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145 The Iirasfrratod London iiews r
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.47 important part? v ilholra^ in t
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lively and pleasing alternative to
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151 On 16 October, 1884 the first m
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Illustration 7 Following p.152
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154 in v.hat wo 3 not to be called
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Illustration 8 Following p.155 E.W.
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157 hie relative immobility was not
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1-.-F j'-j Seems, :aadaml riay, it
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accuracy, those Mrh-hoeled satin sh
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162 unusual mincing manner" combine
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Io4 and was follo\ved by Polonius,
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166 a pillar, setting his tables ag
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the whole depth of the scene can be
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1/0 The oet for the ocono wuo, God
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172 including, in ,the first act, t
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174 Barrett ivin,r; some of the lin
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176 ... Laertes, I muc£ commune wi
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178 removal was essential to Barret
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130 Like the ~>lry-acene f the fina
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he had "left the -:i iirit .. do it
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lacked the personal magnetism of Ir
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186 Hanry James, reporting on the s
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such char.-ct^rs as Parthenie, Ion,
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190 letter, to & kindly but only mi
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192 The Athenaeum suggested th. t M
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194 thrt the stt l,yinu , although
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196 - tne PAaamo'lo of the company;
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198 The reason for Abbey's curt not
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200 that he had visited the Lyceum
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202 Marshall ncmittdd in his genera
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204 old omission oi .-osaline, cut
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205 derived from any sentimental in
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207 abetlun idiom. St. ndin^ had so
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209 less sctisfied, but the kissing
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211 of the ball at the end of the c
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213 appet ri'^co on the belcony '.;
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215 "fruitless". Tie next scene (11
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,17 c. nu.ii ni t e st, to a. v:j,
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; 1 - o don't try". .eci oi-e'3 pic
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V The cujtogary b tineas, rhich t..
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2;ij ne: rly betrayed her r~al le.l
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225 Ijaeli-.c-s^" expressed by i- 3
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2,7 IjilMp s>.t.urdgy uovie.. objec
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229 played Lauder's "Summer Night i
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231 ana n:>t glaringly unmedieval i
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233 Scott had b.Gii un
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235 Chapter Five: WINGFIELD AT IP A
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237 British dramatic renaissance. T
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239 "renaiafiance" included ao one
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a force for social good. Scenery is
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243 tor j\i.gh& accusations of pand
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allow Orlando to outshine the usurp
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247 appearance on stage, and the si
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249 suggested that the delicacy of
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251 friend, and the action continue
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252 -. ured displacement - Miss Lit
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254 time of d. y after Orl. nt!o*B
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-53 coineid.-nce; and yet the pulse
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257 0| tl.ui.t /.orv.n c;. .jnot na
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40 40 O :"_] •rl O O -H b '. i o
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261 acizor?. - .Ithm h the rr>nn,.-
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263 Chapter Sixt 14RY Ai-TDE'tJSOW'
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205 where she should have been supp
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267 set tho "TOCO' nt for archaeolo
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in R "bouvenir" of tae play, ..ith
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271 Whilot he v/as cpeakinr, J^onil
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273 Hermi ne then oxcl, imod, "Take
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27'J the ;..ur.:piciona of Leontes
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Illust ation 13 The Trial f The Win
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27 ; : Al though opposed to a histr
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SCO including Archer, of aota, pans
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. Illustration Mary Anderson as Per
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'*"> D ""} £• J Under and over o
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285 of on, lus, King of Lybia (151-
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286 chosen attempt; that the rtific
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288 in a continuous aeries of betra
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290 she dicrecpccted the narrativo
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292 Irving»s Macbeth. which nn fro
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294 orchards into an abys of pitch
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296 delight in her Ros«- lind: The
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298 managerial bx-st that it sukt>c
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299 were in general i^re.ment on Mi
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301 was the consequence to be deduc
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303 egotism; if True coula engrge t
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205 Tree also admired Wagner, whose
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307 ...he is suave rather than geni
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iv, Mansfield's ttichcirc! III. iii
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311 and The ochool for oc.-.nuel. w
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313 Old folks thou si t'st up late
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315 Archer, ho-ever, regretted thrt
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317 him njthint, but blood. Terror-
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319 into guilt-ridcen criminality a
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321 sensational ,>lcy. Ke had not e
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323 An engagement at the Lyceum, in
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325 v/e snrink from it and c nnot h
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3*7 and The Times described Saker's
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329 star to super", but that "great
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331 pliy for our young folks" (20 D
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333 Chapter Eight: ANTOKY A.ITC CLE
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335 version by Andrew Halliday, had
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337 The tragedy O f Antony and Cleo
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339 attainable* in 1661 tgr Henriet
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341 now jr orij-irvil t it. oottin
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ulars or Antony's jortjonality. The
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Illust ation 1? Following Charles C
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346 her heart" (III.2.47-50), as Oc
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J47 Post described it fully: Her me
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There now followed, as a separate e
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351 Dolabella's intcrv-.cw \ ith th
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notice headed "Cleopatra Lilyised",
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355 not seek to concentrate attenti
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of two hundred pounds a week, and a
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3:>9
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3ol sociulisers in p; int. Indeed,
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363 Godwin's ttamlot. which showed
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foreshadov.ee in the f ei lities, b
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DESIGNER AND DIRECTOR: E. W. GODWIN
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188 RUSSELL JACKSON
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190 RUSSELL JACKSON
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192 RUSSELL JACKSON
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194 RUSSELL JACKSON
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196 RUSSELL JACKSON
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198 RUSSELL JACKSON
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200 RUSSELL JACKSON