Practical Illustrations of Rhetorical Gesture and ActionSherwood, Neely and Jones, 1822 - 393 Seiten |
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Seite 8
... hand , the kiss , and the embrace , are three differ- ent modes of expressing amity and affection . The first is the weakest , because it simply joins two extremities of the human body to each other . The last is the most forcible ...
... hand , the kiss , and the embrace , are three differ- ent modes of expressing amity and affection . The first is the weakest , because it simply joins two extremities of the human body to each other . The last is the most forcible ...
Seite 9
... happy moment when a long - absent son returns to his paternal roof . He expresses the common inter- courses of friendship by a simple pressure of the hand ; but when the heart is really concerned , GESTURE AND ACTION . 9.
... happy moment when a long - absent son returns to his paternal roof . He expresses the common inter- courses of friendship by a simple pressure of the hand ; but when the heart is really concerned , GESTURE AND ACTION . 9.
Seite 10
Johann Jacob Engel, Henry Siddons. hand ; but when the heart is really concerned , he is all fire , all energy , all force ! You see that we have here a general and essen- tial trait ― a tendency to approach and to unite to each other ...
Johann Jacob Engel, Henry Siddons. hand ; but when the heart is really concerned , he is all fire , all energy , all force ! You see that we have here a general and essen- tial trait ― a tendency to approach and to unite to each other ...
Seite 19
... hand spread out , the arm extended to its full length , the " Ma- nus minus arguta , digitis subsequens verba , non exprimens ( the ) brachium procerius projectum , quasi quoddam telum oratoris . " - Cicero de Orat . 1. iii . c . 59 ...
... hand spread out , the arm extended to its full length , the " Ma- nus minus arguta , digitis subsequens verba , non exprimens ( the ) brachium procerius projectum , quasi quoddam telum oratoris . " - Cicero de Orat . 1. iii . c . 59 ...
Seite 30
Johann Jacob Engel, Henry Siddons. motion of the hands , of which he speaks thus : " In lifting up the arm , the superior part , i . e . that from the shoulder to the elbow , ought to be first elevated the hand ought to be the last part ...
Johann Jacob Engel, Henry Siddons. motion of the hands , of which he speaks thus : " In lifting up the arm , the superior part , i . e . that from the shoulder to the elbow , ought to be first elevated the hand ought to be the last part ...
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Practical Illustrations of Rhetorical Gesture and Action Johann Jacob Engel,Henry Siddons Keine Leseprobe verfügbar - 2018 |
Häufige Begriffe und Wortgruppen
according action actor admiration affections agreeable Alcestis ancient appears Aristotle arms art of gesture attitude Bajazet beautiful body cause cesuras character choler Cicero comedian comedy contempt contrary Cymbeline declamation degree desire drama elevated equally example excite expression exterior eyes fear give grief hand head heart ideas imitation Jones Nov 1821 kind language less LETTER Man-The manner means ment metre mind mode modifications mouth movements muscles nature Neely & Jones neral object observation opinion orator oratorical declamations Othello painting pantomime passion perfect person personages physiognomy Plate play poet present pression proper prose Pub by Sherwood Pylades Quintilian racter remark render represented rule scene sense sensible senti sentiment Sherwood Neely signs sion situation soft solely soul speak species spectators sublime tears theatre theatrical Thespis thing tion tone traits tranquil truth verse versification violent vivacity whilst whole wish words
Beliebte Passagen
Seite 45 - O, it offends me to the soul, to hear a robustious, periwigpated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings; who, for the most part, are capable of nothing but inexplicable dumb shows, and noise.
Seite 134 - That they are not a pipe for fortune's finger To sound what stop she please. Give me that man That is not passion's slave, and I will wear him In my heart's core, ay, in my heart of heart, As I do thee.
Seite 133 - Nay, do not think I flatter; For what advancement may I hope from thee, That no revenue hast, 8 but thy good spirits, To feed and clothe thee ? Why should the poor be flatter'd / No; let the candied tongue lick absurd pomp, And crook the pregnant hinges of the knee 9 Where thrift may follow fawning.
Seite 47 - Nor do not saw the air too much with your hand, thus: but use all gently: for in the very torrent, tempest, and (as I may say) whirlwind of your passion, you must acquire and beget a temperance, that may give it smoothness.
Seite 321 - I'll curee thee with my last, my parting breath, And keep the courage of my life, in death ; Then boldly venture on that world unknown : It cannot use me worse than this has done.
Seite 306 - Farmer, you have the honour of conversing with a man who has obtained patents for tweezers, tooth-picks, and tinder-boxes — to a philosopher who has been consulted on the Wapping docks and the Gravesend tunnel ; and who has now in hand two inventions which will render him immortal — the one is, converting saw-dust into deal boards, and the other is, a plan of cleaning rooms by a steam engine — and, Farmer, I mean to give prizes for industry — I'll have a ploughing match.
Seite 262 - ... of music, which, in running over all the notes, immediately loses the sound when the breath ceases; but rather resembles a string-instrument, where, after each stroke, the vibrations still retain some sound, which gradually and insensibly decays.
Seite 305 - I must give this rustic some idea of my consequence [aside] . You must know, Farmer, you have the honour of conversing with a man who has obtained patents for tweezers, tooth-picks, and tinder-boxes — to a philosopher who has been...
Seite 283 - towards the house-rent, buildings, scaffolding, and making of frames for scenes ; one for a provision of habits, properties, and scenes, for a supplement of the said theatre ; and seven to maintain all the women that are to perform or represent women's parts, in tragedies, comedies, &c., and in consideration of creating and establishing his actors to be a company, and his pains and expenses for that purpose for many years.
Seite 285 - ... heads, bags, and court swords. The general effect must have been considerably impaired by such a distinction ; and with an actor of less ability, the illusion would have been weakened, if not destroyed : but while Garrick acted, attention was employed on him, and him alone; all exterior objects were put to flight by his transcendant genius.