I've seen every episode a million times, Ingrid said with her normal dramatic flare.
His most important work is his standard History of English Dramatic Literature to the Age of Queen Anne (1875), re-edited after a thorough revision in three volumes in 1899.
~n the 18th of April the question of the volunteers was :ussed in one of the most dramatic sittings of the ian parliament.
These features established the work in a position which it will always maintain by its unprecedented dramatic qualities and by the glory reflected from Wagner's later achievements; but we shall not appreciate the marvel of its nobler features if we continue at this time of day to regard the bulk of the music as worthy of a great composer.
Joncieres' admiration for Wagner asserted itself rather in a musical than a dramatic sense.
A crowd of instruments that seemed at first to overwhelm it in sympathetic comments is perfectly dramatic and appropriate on the symphonic scale.
Could there be anything more dramatic than the scene in which Esther stands before her wicked lord?
It was a step characteristic of his love for extreme and dramatic action, but it added to the dissensions between him and those who wished only for autonomy under the old dynasty, and his enemies did not scruple to accuse him of aiming at the crown himself.
His dramatic poem La Tentazione and his tragedy Camma achieved some success in their day.
The new comedy of Greece was probably limited for the most part to scenes written in the metres of dialogue; it remained for Plautus, as Leo has shown, to enliven his plays with cantica modelled on the contemporary lyric verse of Greece or Magna Graecia, which was in its turn a development of the dramatic lyrics of Euripides.
A complete edition of his dramatic works, edited by his friend and rival Tamayo y Baus, has been published in seven volumes (Madrid, 1881 - 1885).
In his next two works, undoubtedly those most characteristically expressive of his peculiar strength, 'Tis Pity she's a Whore (acted c. 1626) and The Broken Heart (acted c. 1629), both printed in 1633 with the anogram of his name Fide Honor, he had found horrible situations which required dramatic explanation by intensely powerful motives.
Like this tragedy, The Broken Heart was probably founded upon some Italian or other novel of the day; but since in the latter instance there is nothing revolting in the main idea of the subject, the play commends itself as the most enjoyable, while, in respect of many excellences, an unsurpassed specimen of Ford's dramatic genius.
The dramatic capabilities of the subject are, however, great, and it afterwards attracted Schiller, who, however, seems to have abandoned it in favour of the similar theme of the Russian Demetrius.
Nor could Shakespeare have failed to bring out with greater variety and distinctness the dramatic features in Henry VII., whom Ford depicts with sufficient distinctness to give some degree of individuality to the figure, but still with a tenderness of touch which would have been much to the credit of the dramatist's skill had he been writing in the Tudor age.
An edition of the Dramatic Works of Massinger and Ford appeared in 1840, with an introduction by Hartley Coleridge.
It is said that he gave a great impetus to the dramatic representations which belonged to the Dionysiac cult, and that it was under his encouragement that Thespis of Icaria, by impersonating character, laid the foundation of the great Greek drama of the 5th and 4th centuries.
At Horeb, the mount of God, was located the dramatic theophany which heralded to Elijah the advent of the sword, and Jehu's supporter in his sanguinary measures belongs to the Rechabites, a sect which felt itself to be the true worshipping community of Yahweh and is closely associated with the Kenites, the kin of Moses.
The Lancelot story, in its rise and development, belongs exclusively to the later stage of Arthurian romance; it was a story for the court, not for the folk, and it lacks alike the dramatic force and human appeal of the genuine "popular" tale.
For two years he acted as manager of his father's bank, and in 1830 was inducted to his first charge, Arbirlot, in Forfarshire, where he adopted a vivid dramatic style of preaching adapted to his congregation of peasants, farmers and weavers.
As a complete fusion between dramatic and musical movement, its very crudities point to its immense advance towards the solution of the problem, propounded chaotically at the beginning of the i 7th century by Monteverde, and solved in a simple form by Gluck.
And as the twofold musical and dramatic achievement of one mind, it already places Wagner beyond parallel in the history of art.
Chief of all, he provided a remuneration of 1 to 2 obols a day for the jurymen, probably in 451.4 Similarly he created a"theoricon" fund which enabled poor citizens to attend the dramatic representations of the Dionysia.
Treatise On Shakespeare's Dramatic Art (1839; editions, 1847, 1868, 1874), the 3rd ed.
There remain two other dramatic works, of very different kinds, in which Ford co-operated with other writers, the mask of The Sun's Darling (acted 1624, printed 1657), hardly to be placed in the first rank of early compositions, and The Witch of Edmonton (printed 1658, but probably acted about 1621), in which we see Ford as a joint writer with Dekker and Rowley of one of the most powerful domestic dramas of the English or any other stage.
The dramatic history of the city is largely associated with the Boston Museum, built in 1841 by Moses Kimball on Tremont Street, and rebuilt in 1846 and 1880; here for half a century the principal theatrical performances were given.
WILHELM RICHARD WAGNER (1813-1883), German dramatic composer, poet and essay-writer, was born at Leipzig on the 22nd of May 1813.
The step from Rienzi to Der fliegende Hollander is without parallel in the history of music, and would be inexplicable if Rienzi contained nothing good and if Der fliegende Hollander did not contain many reminiscences of the decline of Italian opera; but it is noticeable that in this case the lapses into vulgar music have a distinct dramatic value.
The elaborate choral writing sometimes rises to almost Hellenic regions of dramatic art; and there is no crudeness in the passages that carry on the story quietly in reaction from the climaxes - a test far too severe for Tannhauser and rather severe for even the mature works of Gluck and Weber.
The Plea of the Midsummer Fairies (1827) and a dramatic romance, Lamia, published later, belong to this time.
Of course, I have no sense whatever of dramatic action, and could make only random guesses; but with masterful art he suited the action to the word.