But there is
Divinity about you, that strikes dead
My rising passions: as you are my king,
I fall before you, and present my sword
To cut mine own flesh, if it be your will.
But there is
Divinity about you, that strikes dead
My rising passions: as you are my king,
I fall before you, and present my sword
To cut mine own flesh, if it be your will.
But there is
Divinity about you, that strikes dead
My rising passions: as you are my king,
I fall before you, and present my sword
To cut mine own flesh, if it be your will.
But there is
Divinity about you, that strikes dead
My rising passions: as you are my king,
I fall before you, and present my sword
To cut mine own flesh, if it be your will.
We may imagine the applause of the courtiers of James Stuart, the Presumptuous; but never since the Cromwellian revolution has that scene been really effective on the English stage. In order fully to appreciate a dramatic struggle, an audience must sympathise with the motives that occasion it.
It should now be evident, as was suggested at the outset, that all the leading principles of the theory of the theatre may be deduced logically from the axiom which was stated in the first sentence of this chapter; and that axiom should constantly be borne in mind as the basis of all our subsequent discussions. But in view of several important points which have already come up for consideration, it may be profitable, before relinquishing our initial question, to redefine a play more fully in the following terms:—
A play is a representation, by actors, on a stage, before an audience, of a struggle between individual human wills, motivated by emotion rather than by intellect, and expressed in terms of objective action.