United States or Liberia ? Vote for the TOP Country of the Week !
And a deep voice rises. Yes, I would have liked to have been there in the Valhalla of the Great Actors, when Bert Williams came shuffling through the towering doors and stood singing his entrance song to the silent, eager-eyed throng of Rejanes, Barretts and Coquelins Ah ain't ever done nothin' to nobody, Ah ain't ever got nothin' from nobody no time, nohow.
They only vary in the tones of their voice. According to their temperament, some are bruised down in vinegar, others steeped in oil. There is no such thing as a clever combination." And he called to mind orators petted like tenors, Monsabré, Didon, those Coquelins of the Church, and lower yet than those products of the Catholic training school, that bellicose booby the Abbé d'Hulst.
I have been seeing the three Coquelins and their company at the Garrick Theatre. They did "Tartuffe," "L'Avare," "Le Bourgeois Gentilhomme," "Les Précieuses Ridicules," and a condensed version of "Le Dépit Amoureux," in which the four acts of the original were cut down into two. Of these five plays only two are in verse, "Tartuffe" and "Le Dépit Amoureux," and I could not help wishing that the fashion of Molière's day had allowed him to write all his plays in prose. Molière was not a poet, and he knew that he was not a poet. When he ventured to write the most Shakespearean of his comedies, "L'Avare," in prose, "le même préjugé," Voltaire tells us, "qui avait fait tomber 'le Festin de Pierre, parce qu'il était en prose, nuisit au succès de 'l'Avare. Cependant le public qui,
Word Of The Day