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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. "
The Plays of William Shakespeare: With Notes of Various Commentators - Сторінка lxiii
автори: William Shakespeare - 1806
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Thackeray's Cultural Frame of Reference: Allusion in The Newcomes

Rowland McMaster - 1991 - 194 стор.
...unities seems also to apply to novels: The truth is that the spectators are always in their senses, and know, from the first act to the last, that the...only a stage, and that the players are only players .... It will be asked how the drama moves, if it is not credited. It is credited with all the credit...
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Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages

Michael Shapiro - 1996 - 282 стор.
...kind of dual consciousness described by Samuel Johnson: "the spectators are always in their senses, and know, from the first act to the last, that the...only a stage, and that the players are only players." 44 If Johnson is correct, spectators would not only have shared Cleopatra's fear, as Davies claims,...
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William Shakespeare: The Critical Heritage, Том 5

Brian Vickers - 1995 - 568 стор.
...brains that can make the stage a field. The truth is, that the spectators are always in their senses, and know from the first act to the last that the stage...must be in some place; but the different actions that compleat a story may be in places very remote from each other; and where is the 1 'Delusion': 'A cheat;...
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Shakespeare's Theory of Drama

Pauline Kiernan - 1998 - 218 стор.
...Johnson stresses the ficri tiousness of Shakespearean drama, and when he insists that the spectators 'know, from the first act to the last, that the stage...only a stage, and that the players are only players', he is denying that the play asks us to take it for real life.6 Coleridge thinks the spectator - temporarily...
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Closet Performances: Political Exhibition and Prohibition in the Dramas of ...

Michael Simpson - 1998 - 469 стор.
...parameters set by the Poetics. While Johnson maintains that "the spectators are always in their senses, and know from the first act to the last, that the...only a stage, and that the players are only players" ("Preface to Shakespeare," Selections, 24), Coleridge insists that the audience makes no determination...
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Shakespeare in the Theatre

Stephen Orgel, Sean Keilen - 1999 - 270 стор.
...or diminish its effect," he wrote in 1 765 in the Preface to his edition of Shakespeare; spectators come "to hear a certain number of lines recited with just gesture and elegant modulation" (my italics). Warrilow held that the text speaks best for itself, when allowed to, through cultivated...
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Literature as Communication: The Foundations of Mediating Criticism

Roger D. Sell - 2000 - 348 стор.
...happening. In point of fact, and as Johnson also spells out, "the spectators are always in their senses and know, from the first act to the last that the...only a stage, and that the players are only players" (Johnson 1960 [1765]: 38). To which we need only add that the spectators also know that the whole thing...
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The Passion for Happiness: Samuel Johnson and David Hume

Adam Potkay - 2000 - 241 стор.
...other aesthetic consideration: "The truth is, that the spectators are always in their senses . . . They come to hear a certain number of lines recited with just gesture and elegant modulation" (77) . Hume's essay "Of Tragedy" spells out that which Johnson strongly implies: a passion that would...
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Shakespeare Survey, Том 42

Stanley Wells - 2002 - 236 стор.
...reconsider this presupposition. I Samuel Johnson's claim that theatre audiences 'are always in their senses, and know, from the first act to the last, that the...only a stage, and that the players are only players' is typical of its period.2 When they came to discuss the large matter of the relationship between artistic...
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Must We Mean What We Say?: A Book of Essays

Stanley Cavell - 2002 - 365 стор.
...theater? Why are we there? — anyway, not for longer than it takes to answer, ". . . the spectators . . . come to hear a certain number of lines recited with just gesture and elegant modulation." It is not clear to me how seriously this straight-faced remark is meant. Its rhetoric may be that of...
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