CONCERT-HALL, LORD NELSON STREET. LECTURES ON DRAMATIC POETRY. MR. JAMES SHERIDAN KNOWLES, "William Tell," "The Hunchback," &c., WILL DELIVER A COURSE OF FOUR LECTURES ON DRAMATIC POETRY With Copious Illustrative Readings and Recitations, ON THE EVENINGS OF Monday the 14th, Tuesday the 15th, Wednesday the 16th, and Thursday the 17th February, 1848. LECTURE I. Origin and Progress of Dramatic Poetry.-The Chorus.-Transition from the First to the Second Stage of the Art.-Eschylus, Sophocles, and Euripides.-The Unities of Time and Place. -The Agamemnon of Eschylus.-Shaksperian Drama.-Models. LECTURE II. Source of Effect in Dramatic Poetry.-Hamlet.-Causes of Failure.-Familiar Phraseology.-Monosyllabic Style.-Figure.-Characters of Brutus and Cassius. LECTURE III. Unity of Action.-Climax.-Unity of Character.-Illusion of the Drama.-Absurd Theories.-Mixed Character of Shakspere's Tragedies.-Passion. LECTURE IV. Examination of the First Act of Macbeth.-Erroneous Conception as to the Reading.Mrs. Siddons.-False Criticism of Sir Joshua Reynolds with Reference to the Text.-Conclusion. Admission to each Lecture at the Members of the Mechanics' and Collegiate Doors, Reserved Seats, 28.; Side Gallery, 18.; Body, 6d. Institutions and Roscoe Club admitted at Half-price, on presenting their Cards of Membership. TRANSFERABLE TICKET FOR THE COURSE, RESERVED SEATS 6s.; SIDE GALLERY, 3s.; Body, 1s. 6d. Schools admitted at Half-price. Lectures to commence at Eight o'clock. Tickets may be had at the MERCURY-OFFICE, and at the CONCERT-HALL. SMITH, ROGERSON, AND CO., PRINTERS, LORD-STREET, LIVERPOOL. CONTENTS. LECTURE I. THE GREEK DRAMA. HASTENESS of moral of the Greek drama-Origin of the drama in the LECTURE II. THE GREEK DRAMA CONTINUED. Brief statement of arguments advanced in preceding Lecture-The "Edipus Tyrannus" temperament or fortune-" Sardanapalus" his best dramatic work-Maturin's genius essentially dramatic His "Bertram" a convincing proof of this-Its defects—The plot exceptionable on the score of propriety-Excuse for this in the example of Byron-The moral of "Bertram" questioned unreasonably-The aim of the dramatist should be to excite suspense-Example in "Macbeth"-Incident and situation the sinews of the epic as well as the dramatic poet- Sophocles' management of the action of the "Edipus Tyrannus"-The story of Edipus, with illustrative extracts-Proofs from the first scene that Sophocles was feeling his way in a region of art not yet explored-Construction of the second scene better-Incidents in this scene admirably conceived, but not managed with felicity-Improbabilities in the third scene-Their existence accounted for-The story continued and studied critically-Absurdity of attributing Euripides a far greater dramatist than Æschylus or Sophocles-His characters portraits- Example from the "Phoenician Virgins"-His treatment of the characters of Electra and Orestes compared with that of Eschylus and Sophocles-This alone sufficient to constitute him the first of the Greek tragic writers—The “Iphigenia in Aulis” superior to the "Edipus Tyrannus," though far inferior in plot-The argument of "Iphigenia in Aulis"-The story analyzed- Contains all the most valuable requisites of the dramatist-Concluding remarks on the ancient drama-The error of neglecting dramatic poetry-Astounding instance of blindness to the religious feeling of Shakespeare-Example, in vindication, from "Henry the Eighth". HAMLET.-JULIUS CÆSAR. The Stage our only school of elocution-Demosthenes schooled by an actor-Higher ends dramatic poem-Mark Antony's speech-Difficult course to steer-Complimentary lines to Brutus no sneer-Simplicity of language in this speech-Erroneous impression as to what elocution accomplishes-Dramatic composition the elocutionist's best study-For example, the Quarrel Scene between Brutus and Cassius-Analysis of the greater part of this scene UNITY OF ACTION-CLIMAX OF ACTION, UNITY OF CHARACTER, &c. The play in which unity of action is respected the best, cæteris paribus-Evidence of our own feelings "Rule a Wife and Have a Wife," "Much Ado about Nothing," favourable exceptions-The criterion of eligibility not success, but a comparison of the respective effectiveness of two different plots-The "Merchant of Venice" instanced. Here the simple plot would seem preferable-Climax of action more important-Play should have climax of action in its greater divisions-Interest of "Julius Cæsar" flags for want of it-Unity of character most important of all-Constitutes the paramount charm of Shakespeare-Boling- broke, Richard, Macbeth, all ambitious characters, yet of totally different natures-Jealousy of Othello compared with that of Leontes and Posthumus-Theory of unity of time and place contested-The mind regardless of it in novel, play or picture-" Hamlet" instanced, and Hogarth's picture of "The Good and Idle Apprentices"-Johnson right in asserting that the drama never yet produced a complete illusion-The Coriolanus of John Kemble-Theory should bow to experience in passing judgment on the excellence of acting dramatic poems- Short stature of Garrick and Kean no impediment to their acting-Picture of "Buonaparte's Return to Versailles"-Anecdote of Kean's first appearance in London in "The Merchant of Venice "-Natural and "theatrical" elocution-Kean's delivery of soliloquy from "Hamlet"- A schoolboy reciting Milton-A mannered M. P. reciting "Logan's Address"-The stage indebted to Kean for a more natural elocution-Poetry founded on Nature-Shakespeare modelled from life-Witness Romeo, Juliet, Gravedigger in "Hamlet," Hamlet himself—Passion the grand ingredient of the drama-Exemplified in the characters of Lady Macbeth, Juliet, and Shylock-Riches and fitness the characteristics of Shakespeare's poetry-Illustration in "Macbeth" the most felicitous of Shakespeare's plays in plot and execution-Shakespeare |