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Arthur Schnitzler artist asks assailed Bjornson Bost Brieux brother character Charles Mills Gayley Chic child church comedy conventional criticism d'Annunzio daughter dead Dead Awaken death declares divorce drama dramatist dream duel duty Edwin Bjorkman exhibits faith falls father feels force Francesca Galsworthy's girl happiness Hauptmann Henrik Ibsen heroine Hervieu honor human husband Ibsen ideal instinct Irish Jones Lady Gregory learns less Little Eyolf live Lond lover Maeterlinck Major Barbara marital marriage married matter Maurice Maeterlinck merely modern drama moral mother naturalistic nature Paris passion piece Pinero played in English plot Poet Lore poetic drama priest priestly hero prose publ refuses Richard Hovey rival romantic Rosmersholm satire says scene Schnitzler Shaw Shaw's sister situation social soul spirit stage Strindberg Sudermann's symbolism Synge theatre theme tion tragedy truth turns wayward Wedekind wife William Archer Windermere woman women Yeats youth
Page 53 - And therefore it was ever thought to have some participation of divineness, because it doth raise and erect the mind, by submitting the shows of things to the desires of the mind ; whereas reason doth buckle and bow the mind unto the nature of things.
Page 270 - Come along with me now, lady of the house, and it's not my blather you'll be hearing only, but you'll be hearing the herons crying out over the black lakes, and you'll be hearing the grouse and the owls with them, and the larks and the big thrushes when the days are warm...
Page 416 - An Irishman's imagination never lets him alone, never convinces him, never satisfies him; but it makes him that he can't face reality nor deal with it nor handle it nor conquer it: he can only sneer at them that do, and be "agreeable to strangers," like a good-fornothing woman on the streets.
Page 273 - It's little you'll think if my love's a poacher's or an earl's itself when you'll feel my two hands stretched around you, and I squeezing kisses on your puckered lips till I'd feel a kind of pity for the Lord God is all ages sitting lonesome in his golden chair.
Page 20 - It is this, let me tell you — that the strongest man in the world is he who stands most alone.
Page 377 - With the greatest reverence for all the antiquities of the drama, I still think that we had better beget than revive ; attempt to give the literature of this age an idiosyncrasy and spirit of its own, and only raise a ghost to gaze on, not to live with — just now the drama is a haunted ruin.
Page 111 - I believe in Michael Angelo, Velasquez, and Rembrandt; in the might of design, the mystery of color, the redemption of all things by Beauty everlasting, and the message of Art that has made these hands blessed. Amen. Amen.
Page 274 - It's that you'd say surely if you seen him and he after drinking for weeks, rising up in the red dawn, or before it maybe, and going out into the yard as naked as an ash-tree in the moon of May, and shying clods against the visage of the stars till he'd put the fear of death into the banbhs and the screeching sows.
Page 255 - In a good play every speech should be as fully flavoured as a nut or apple, and such speeches cannot be written by anyone who works among people who have shut their lips on poetry.
Page 406 - Soldiering, my dear madam, is the coward's art of attacking mercilessly when you are strong, and keeping out of harm's way when you are weak. That is the whole secret of successful fighting. Get your enemy at a disadvantage; and never, on any account, fight him on equal terms.