{83} Defects in the Drama. It should be remembered that this was written when the English drama was but twenty years old, and Shakespeare, aged about seventeen, had not yet come to London. The strongest of Shakespeare's precursors had not yet begun to write for the stage. Marlowe had not yet written; and the strength that was to come of the freedom of the English drama had yet to be shown.英文原著 · 《A Defence of Poesie and Poems》
In fact, the prodigal materials of the story - the rich and exuberant complexities of Rienzi's character - joined to the advantage possessed by the Novelist of embracing all that the Dramatist must reject (Thus the slender space permitted to the Dramatist does not allow Miss Mitford to be very faithful to facts; to distinguish between Rienzi's earlier and his later period of power; or to detail the true, but somewhat intricate causes of his rise, his splendour, and his fall.) - are sufficient to prevent Dramatist and Novelist from interfering with each other.英文原著 · 《Rienzi》
That is not simply a dramatic event; that is a striking telling of it. It is more than a narrative. In narrative literature the scene is accepted as already constructed. In dramatic literature such appeal is made to the imagination that the reader reconstructs the scene for himself. We are not told in this how Elijah felt, or how he acted, nor how the people as a whole looked, nor the setting of the scene; but if one reads it with care it makes its own setting. The scene constructs itself.英文原著 · 《A Study of Bible》
The imagination does not immediately conjure up the scene. There may be two reasons for that. One is that there are involved several hours in which there is no action recorded. The other is that by the time the accounts were written the actual events were submerged in importance by their unworded meaning. The account of the conversion of Paul, on the other hand, brief as it is, has at least minor dramatic elements in it. On the whole, the Old Testament is far more dramatic than the New.英文原著 · 《A Study of Bible》
It might seem an exaggeration to ascribe to the modern drama such an important role. But a study of the development of modern ideas in most countries will prove that the drama has succeeded in driving home great social truths, truths generally ignored when presented in other forms. No doubt there are exceptions, as Russia and France.英文原著 · 《Anarchism and Other Essays》
Intellectual Germany had to take refuge in the literature of other countries, in the works of Ibsen, Zola, Daudet, Maupassant, and especially in the great works of Dostoyevsky, Tolstoy, and Turgeniev. But as no country can long maintain a standard of culture without a literature and drama related to its own soil, so Germany gradually began to develop a drama reflecting the life and the struggles of its own people.英文原著 · 《Anarchism and Other Essays》
I'm sorry, darling. I had no intention of upsetting you. keep my things, give them away. ultimately, it doesn't matter. yes, orson hodge was smiling agai and Bree would soon learn the reason why. you see, her husband... had decided to kill himself. desperate housewives s06e14 in this never-ending drama we call life, everyone has a part to play. some are cast as romantic leads. others end up playing the victim. and a few provide comic relief. but if the drama is to be really compelling, there must be a hero... and a villain. hey, mrs. kinsky. oh, look who's here. the garbage police.美剧 · 《Desperate Housewives》