Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 25, 2025
I was trembling so I could hardly get from one costume into another, and had to refuse my door to every one. Amid all this confusion Rostand alone remained cool and seemed unconscious of his victory.
In tragedy and in comedy from ancient times to Ibsen, Rostand, Hauptmann, and Shaw we recognize one common purpose and one common form for which no further commentary is needed. How does the photoplay differ from a theater performance? We insisted that every work of art must be somehow separated from our sphere of practical interests. The theater is no exception.
Rostand says in the foreword to his play, that in it he does not espouse this cause or that, but only tells the story of "one poor little boy." In another of his plays, "Cyrano de Bergerac," there is one poor little tune played on a pipe of which the hero says: "Écoutez, Gascons, c'est toute la Gascogne."
"The story was finished." With these words the story really ends. Kuprin shows the same grace and the same delicate emotion in his recent story, "The Garnet Necklace," a tale which is analogous to the legend of the troubadour Geoffrey Rudel, which has been made into a play by Rostand in his "Princesse Lointaine."
Rostand has since told me that at one time she seriously feared for his reason if not for his life, as he averaged ten hours a day steady work, and when the spell was on him would pass night after night at his study table, rewriting, cutting, modelling his play, never contented, always striving after a more expressive adjective, a more harmonious or original rhyme, casting aside a month’s finished work without a second thought when he judged that another form expressed his idea more perfectly.
Where, I asked myself, had he learned that difficult art? The great actress, always quick to respond to the voice of art, accepted the play then and there. “After the reading was over I walked home with M. Rostand, and had a long talk with him about his work and ambitions.
The essence of tragedy is a spiritual breakdown or decline, and in the great French play the spiritual sentiment mounts unceasingly until the last line. It is not the facts themselves, but our feeling about them, that makes tragedy and comedy, and death is more joyful in Rostand than life in Maeterlinck.
It is wonderful and splendid that we treasure, not the truth, but the very gossip about a man who died a thousand years ago. We may say to him, as M. Rostand says to the Austrian Prince: "Dors, ce n'est pas toujours la Légende qui ment: Une rêve est parfois moins trompeur qu'un document."
"Rostand," he observed with studied emphasis, "has been called le Prince de l'adjectif Inopine; Miss Mustelford deserves to be described as the Queen of Unexpected Movement." "Oh, I say, do you hear that?" exclaimed Mrs. Mentieth-Mendlesohnn to as wide an audience as she could achieve; "Rostand has been called tell them what you said, Mr.
Monsieur Rostand, in his description of the Battle of Wagram, does not shrink from bringing about the Duke's ears the frightful voices of actual battle, of men torn by crows, and suffocated with blood, but when the Duke, terrified at these dreadful appeals, asks them for their final word, they all cry together Vive l'Empereur!
Word Of The Day
Others Looking