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America artist beauty Bernard Shaw Blue Bird brain Brand brilliant Brunetiere characters comedies confessed contemporary critics Dead Awaken dialogue discover Doll's House drama dramatist Duchess of Padua evolution exhibit expression eyes faith fancy final forework genius George Meredith happiness Hedda Hedda Gabler Henrik Ibsen human ideal ideas imaginative individual influence instinctive Joyzelle L'Intruse Lady light literary Little Eyolf live Maeterlinck marvellous Maurice Maeterlinck Melisande ment Meredith mind modern Monna Vanna moral mystery mystic nature never Nora Norwegian novel once Oscar Wilde paradox passion Peer Gynt philosophy Pillars of Society play poem poet poetic realized romantic Rosmer Rosmersholm Salome satire says secret sense Shakspere Shaw's Sidney Olivier sion social Socialist soul spirit stage Stockmann strange struggle Svanhild symbolism temperament Thaulow theatre thing thought tion to-day tragedy tragic truth Tyltyl vital Wild Duck Wilde's woman words wrote youth
Page 38 - The gods had given me almost everything. I had genius, a distinguished name, high social position, brilliancy, intellectual daring: I made art a philosophy, and philosophy an art: I altered the minds of men and the colours of things : there was nothing I said or did that did not make people wonder: I took the drama, the most objective form known to art, and made it as personal a mode of expression as the lyric or the sonnet...
Page 252 - Most writers, poets in especial, prefer having it understood that they compose by a species of fine frenzy, an ecstatic intuition, and would positively shudder at letting the public take a peep behind the scenes at the elaborate and vacillating crudities of thought; at the true purposes seized only at the last moment ; at the innumerable glimpses of idea that arrived not at the maturity of full view; at the really matured fancies discarded in despair as unmanageable; at the cautious selections and...
Page 137 - I have grown to believe that he, motionless as he is, does yet live in reality a deeper, more human and more universal life than the lover who strangles his mistress, the captain who conquers in battle, or ' the husband who avenges his honour.
Page 13 - A psychological reason is, to my imagination, an object adorably pictorial; to catch the tint of its complexion— I feel as if that idea might inspire one to Titianesque efforts. There are few things more exciting to me, in short, than a psychological reason, and yet, I protest, the novel seems to me the most magnificent form of art.
Page 138 - In the Symbol proper, what we can call a Symbol, there is ever, more or less distinctly and directly, some embodiment and revelation of the Infinite ; the Infinite is made to blend itself with the Finite, to stand visible and as it were, attainable there.
Page 222 - Oh, life would be quite tolerable, after all, if only we could be rid of the confounded duns that keep on pestering us, in our poverty, with the claim of the ideal.
Page 233 - Scripture, that the fathers eat sour grapes, and the teeth of the children are set on edge.
Page 317 - brief candle" to me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.
Page 256 - Everything that I have written has the closest possible connection with what I have lived through, even if it has not been my own personal experience; in every new poem or play I have aimed at my own spiritual emancipation and purification — for a man shares the responsibility and the guilt of the society to which he belongs.