CONCERT-HALL, LORD NELSON STREET. LECTURES ON DRAMATIC POETRY.

MR. JAMES SHERIDAN KNOWLES,

66

Author of “ Virginius” “ 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
imaginative and imitative faculties of man-The child a dramatist-Greece
the birth-place of the drama-Bacchus, parent of the drama-Origin of the
chorus-Origin of the action or plot-Thespis, father of the stage-Dialogue
and chorus not yet interwoven-Second stage of the drama-Chorus becomes
a secondary object-Nature of chorus-Example from the "Baccha" of
Euripides-Eschylus the first great dramatist-The artificial stage substituted for the natural—
Introduction of the mask and buskin-Vast improvement of the dramatic art under Æschylus,
Sophocles and Euripides-Their merits as dramatists compared-Germ of the drama to be found
in Homer-Eschylus the first poet who represented action in a distinct form-The Greek drama
not perfection-Evidence of imperfection in the theory of the Unities of Time and Place The
"Prometheus Chained" of Æschylus in accordance with this theory-Unity of Place violated in
"The Furies"-Unity of Time violated in the "Agamemnon"-Both violated by all the Greek
dramatists-Shakespeare regardless of the Unities-Quotations from Macbeth-Danger of
studying models-The chorus a proof of the defective state of the Greek drama-Æschylus as
a poet-Examples from the "Prometheus" compared with others from "Paradise Lost,"
"Macbeth" and "King Lear"-Byron's description of a thunderstorm-Extract from
Agamemnon" .
Page I

LECTURE II.

THE GREEK DRAMA CONTINUED.

Brief statement of arguments advanced in preceding Lecture-The "Edipus Tyrannus"
of Sophocles-In point of mechanism surpasses any work of Eschylus-Its superiority to the
"Edipus Coloneus"-Dramatic interest wanting in the latter-Maturin's "Bertram" and Byron's
"Manfred" to be compared on the abstract question of poetry alone-" Manfred" wanting in
the essential requisites of the drama-Byron's qualifications for a dramatist-How marred by

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 dipus, 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

perfection to the Ancient drama
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LECTURE III.

THE GREEK DRAMA CONTINUED.

Euripides a far greater dramatist than Eschylus or Sophocles-His characters portraits-

Example from the "Phoenician Virgins"-His treatment of the characters of Electra and Orestes

compared with that of Æschylus 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".

Arguments in favour of the stage1

-

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LECTURE IV.

HAMLET-JULIUS CÆSAR.

The Stage our only school of elocution-Demosthenes schooled by an actor-Higher ends
still which the stage serves—The play of Hamlet deficient in action-Kean's Hamlet in the scene
with Ophelia-In dramatic composition, poetry to be subservient to character, and character to
situation and incident-Observance of this principle in "Hamlet"-Character of Hamlet—
Illustration from the first scene-The poet must forget himself to succeed in individualization—
Barrenness of the works of dramatic writers who fail to do this-In "Hamlet," every one "his
own man"—Hamlet's extreme sensibility and friendship illustrated-His devotion to revenge his
father's death-Monstrous error of many actors in playing the scene with Ophelia-Failure of
some writers of dramas through a desire to write finely-Critics greatly to blame for this error-
Shakespeare colloquial in most impassioned passages-Examples of this from Julius Cæsar,
Henry IV., Lear, and from Byron-Impertinences of critics-Importance of fitness in the

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 . 91

LECTURE V.

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

Henry IV.'s Soliloquy on Sleep
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LECTURE VI.

FIRST ACT OF MACBETH.

"Macbeth" the most felicitous of Shakespeare's plays in plot and execution-Shakespeare
little indebted to history for this play-The great aim of the dramatist should be to excite
expectation-In Macbeth interest strongly excited as soon as the play begins. Impression
improved in second scene-Witches not grotesque compared with the Furies of Eschylus—
Acting manager should be a scholar-Kemble's management-Macready's alteration in
the business of the incantation scene-Imitation of Kean's reading of this scene-Analysis
continued-Character of Lady Macbeth-Such an accomplice necessary to Macbeth-Mrs.