Word: moors
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Dates: during 1880-1889
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...which deals with Satan, seems to me exceedingly formal and wanting in true inspiration. God and the whole heavenly council talk like the divines of the Westminster Assembly. Adam and Eve are a typical Puritan and his wife. The heavenly and infernal hosts fight a sort of celestial Marston Moor or Naseby, which is finally won for the Parliament and Calvinism by a dashing charge of the celestial Ironsides led by Christinstead of Cromwell. But the character of Satan is truly grand. Like all great literary creations, he is really the embodiment of the ideals, the aspirations, and the passions...
...decided not to follow Shak-sperian tradition as regards the actor's dress. Whatever would be gained in historical interest would be counterbalanced by the loss of all that was Roman in the play. Thus it is related of Garrick in Macbeth, that he played the part of the Moor in a powdered gray wig; and it is probable that in Shakspere's time there was an equal conformity with the prevailing English fashions. This feature of the play the Shakspere club does not care to reproduce. The attempt will be made, instead, to imitate with historical fidelity the costume...
...translation by M. de Graumont, which is said to follow the poet's text with considerable fidelity. This will make at least four versions of this tragedy which have been seen on the French stage since that of Duci's, in which Frederick Lamaitre played the Moor, in London, some fifty years since. In this, Iago was entirely suppressed, and the dagger was substituted for the pillow in the murder scene. De Vigny's translation which, on the contrary, adhered to the text pretty closely, was in existence at that time, but was only in favor with the advanced romantic...