Beauty has so many charms, one knows not how to speak against it; and when it happens that a graceful figure is the habitation of a virtuous soul, when the beauty of the face speaks out the modesty and humility of the mind, and the justness of the proportion raises our thoughts up to the heart and wisdom of the great Creator, something may be allowed it,--and something to the embellishments which set it off; and yet, when the whole apology is read, it will be found at last that beauty, like truth, never is so glorious as when it goes the plainest.
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Upon the present theological computation, ten souls must be lost for one that is saved. At which rate of reckoning, heaven can raise but its cohorts while hell commands its legions. From which sad account it would appear, that, though our Saviour had conquered death by the resurrection, he had not yet been able to overcome sin by the redemption.
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It is curious to observe the triumph of slight incidents over the mind; and what incredible weight they have in forming and governing our opinions, both of men and things, that trifles light as air shall waft a belief into the soul, and plant it so immovable within it, that Euclid's demonstrations, could they be brought to batter it in breach, should not all have power to overthrow it!
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I often derive a peculiar satisfaction in conversing with the ancient and modern dead, "" who yet live and speak excellently in their works. My neighbors think me often alone, "" and yet at such times I am in company with more than five hundred mutes "" each of whom, at my pleasure, communicates his ideas to me by dumb signs "" quite as intelligently as any person living can do by uttering of words.
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You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.
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So that the life of a writer, whatever he might fancy to the contrary, was not so much a state of composition, as a state of warfare; and his probation in it, precisely that of any other man militant upon earth,--both depending alike, not half so much upon the degrees of his WIT--as his RESISTANCE.
Crack, crack-crack, crack-crack, crack-so this is Paris! quoth I (continuing in the same mood)-and this is Paris!-humph!-Paris! cried I, repeating the name the third time- The first, the finest, the most brilliant- -The streets however are nasty; But it looks, I suppose, better than it smells-crack, crack-crack, crack-
-for though he never after went to the house, yet he never met Bridget in the village, but he would either nod or wink, or smile, or look kindly at her, -or (as circumstances directed), he would shake her by the hand, -or ask her lovingly how she did, -or would give her a ribban, -and now and then, though never but when it could be done with decorum, would give Bridget a-
I am this month one whole year older than I was this time twelve-month; and having got, as you perceive, almost into the middle of my fourth volume-and no farther than to my first day's life-'tis demonstrative that I have three hundred and sixty-four days more life to write just now, than when I first set out; so that instead of advancing, as a common writer, in my work with what I have been doing at it-on the contrary, I am just thrown so many volumes back-
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I have undertaken, you see, to write not only my life, but my opinions also; hoping and expecting that your knowledge of my character, and of what kind of a mortal I am, by the one, would give you a better relish for the other: As you proceed further with me, the slight acquaintance which is now beginning betwixt us, will grow into familiarity; and that, unless one of us is in fault, will terminate in friendship.
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Cursed luck! -said he, biting his lip as he shut the door, -for man to be master of one of the finest chains of reasoning in nature, -and have a wife at the same time with such a head-piece, that he cannot hang up a single inference within side of it, to save his soul from destruction.
I could wish to spy the nakedness of their hearts, and through the different disguises of customs, climates, and religion, find out what is good in them, to fashion my own by. It is for this reason that I have not seen the Palais Royal - nor the facade of the Louvre - nor have attempted to swell the catalogues we have of pictures, statues, and churches - I conceive every fair being as a temple, and would rather enter in, and see the original drawings and loose sketches hung up in it, than the Transfiguration of Raphael itself.
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-Now my father had a way, a little like that of Job's (in case there ever was such a man-if not, there's an end of the matter.- Though, by the bye, because your learned men find some difficulty in fixing the precise e¦ra in which so great a man lived;-whether, for instance, before or after the patriarchs, andc.-to vote, therefore, that he never lived at all, is a little cruel, -'tis not doing as they would be done by-happen that as it -My father, I say, had a way, when things went extremely wrong with him, especially upon the first sally of his impatience-of wondering why he was begot, -wishing himself dead;-sometimes worse:-
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The very essence of gravity was design, and, consequently, deceit; it was a taught trick to gain credit of the world for more sense end knowledge than a man was worth; and that with all its pretensions it was no better, but often worse, than what a French wit had long ago defined it--a mysterious carriage of the body to cover the defects of the mind.
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Upon looking back from the end of the last chapter and surveying the texture of what has been wrote, it is necessary, that upon this page and the five following, a good quantity of heterogeneous matter be inserted, to keep up that just balance betwixt wisdom and folly, without which a book would not hold together a single year.
There is no small degree of malicious craft in fixing upon a season to give a mark of enmity and ill-will: a word--a look, which at one time would make no impression, at another time wounds the heart, and, like a shaft flying with the wind, pierces deep, which, with its own natural force, would scarce have reached the object aimed at.
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Madness is consistent; which is more than can be said for poor reason. Whatever may be the ruling passion at the time continues equally so throughout the whole delirium, though it should last for life. Madmen are always constant in love; which no man in his senses ever was. Our passions and principles are steady in frenzy; but begin to shift and waver, as we return to reason.
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In part of Lord Kames' Elements of Criticism, he says that "music improves the relish of a banquet." That I deny,--any more than painting might do. They may both be additional pleasures, as well as conversation is, but are perfectly distinct notices; and cannot, with the least propriety, be said to mix or blend with the repast, as none of them serve to raise the flavor of the wine, the sauce, the meat, or help to quicken appetite. But music and painting both add a spirit to devotion, and elevate the ardor.
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There is no definitive list of the duties of a stage manager that is applicable to all theaters and staging environments. Regardless of specific duties, however, the stage manager is the individual who accepts responsibility for the smooth running of rehearsals and performances, on stage and backstage.
An interesting difference between new and experienced stage managers is that the new stage manager thinks of running the show as the most difficult and most demanding part of the job, whereas the experienced stage manager thinks of it as the most relaxing part. Perhaps the reason is that experienced stage managers have built up work habits that make then so thoroughly prepared for the production phase that they [can] sit back during performances to watch that preparation pay off.
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The cast, staff, and crew of a live theater work together toward a common goal: a good performance. Thus, theater is necessarily a group effort. However, it is never a group effort of vague fellow committee members, but of associated autocrats-a playwright, a producer, a director, a stage manager, designers, and, above all, actors. Each accommodates the others, and may overlap others in function when necessary. But each autocrat assumes distinct responsibilities and accepts them completely.
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