 | Raymond Macdonald Alden - English prose literature - 1911 - 744 pages
...truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage and that the players...come to hear a certain number of lines recited with just gesture and elegant modulation. The lines relate to some action, and an action must be in some... | |
 | Raymond Macdonald Alden - English prose literature - 1911 - 754 pages
...truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage and that the players...come to hear a certain number of lines recited with just gesture and elegant modulation. The lines relate to some action, and an action must be in some... | |
 | Raymond Macdonald Alden - English prose literature - 1911 - 752 pages
...truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage and that the players...come to hear a certain number of lines recited with just gesture and elegant modulation. The lines relate to some action, and an action must be in some... | |
 | Gerhard Richard Lomer, Margaret Ashmun - English language - 1914 - 360 pages
...truth is that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage and that the players are only players." SAMUEL JOHNSON : Preface to Shakespeare. dramatic action is the doing of something really significant."... | |
 | Hans Meier - 1916 - 124 pages
...truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players.41) Die Frage wurde aktuell, als man dem Erfolg von Gays „Beggars Opera" die gesteigerte... | |
 | Jean Jules Jusserand - English literature - 1926 - 666 pages
...truth is that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage and that the players are only players. . . . The different actions that complete a story may be in places very remote from each other ; and... | |
 | David Daiches - 1979 - 336 pages
...truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players. They came to hear a certain number of lines recited with just gesture and elegant modulation. The lines... | |
 | Michael Steppat - Drama - 1980 - 646 pages
...truth is that "the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players." Johnson's argument is strangely unequal in that he accomplishes the demolition of the old aesthetics... | |
 | Frederick Burwick - Literary Criticism - 2010 - 357 pages
...illusion: "The truth is, that the spectators are always in their senses, and know, from first act to last, that the stage is only a stage, and that the players are only players." 23 Before we conclude, however, that Johnson was an utter skeptic who deined the efficacy of illusion,... | |
 | Kent Cartwright - Literary Criticism - 2010 - 301 pages
...such criticism, Michael Shapiro contrasts a Johnsonian view of the "spectators' constant awareness 'that the stage is only a stage, and that the players are only players' " with a Coleridgean "ideal response" involving the spectator's "rapt absorption in the work of art,... | |
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The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players. 
