Word: robertson
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...Advocate announced last night the election of Robeson Bailey '29 of Eagleville, Pennsylvania, Benjamin Philip Bole '30 of New York City, Charles Francis Fawsett Jr. '28 of Milwaukee and Archibald Thomas Robertson Jr. '28 of Louisville, Kentucky, to the staff...
...been said, is the Iliad of the Germanic races, and this comparison, though only a general one, never the less comes close to the truth. Granted that it is crude in some parts and lacks the balance and proportion of the Homeric epic, yet, says Professor J. G. Robertson, "neither in the Iliad nor the Odyssey--nowhere, indeed, in the epic poetry of any people--has the tragic movement of events been depicted upon such a sublime scale as in the second part of the Nibelimgen...
...faced this fact, and the perils arising from it, with high resolve. Last week the careful Christian Science Monitor reported the appointment of a committee for the linguistic instruction of speakers in: the British Broadcasting Co. Poet Laureate Robert Bridges, Dramatist G. B. Shaw, Actor Sir Johnston Forbes-Robertson, Professor Daniel Jones of London University, one L. P. Smith of the Society for Pure English, and Lecturer Lloyd James were the gentlemen selected to see that Britons should not, through hardening to voices in the air, fall into such malaproprieties as saying "acow-sticks" for "acoustics" "despick'-able...
...competitive basis, the creation of new taste in the audience by pioneers of realism such as Kemble in Shakespeare, Madame Vestris in farce and burlesque, the smaller theatre and new technical developments, the new school of acting, the reforms in management beginning with Macready and culminating in Robertson, all prepared for the revival of good dramatic literature in the last three, decades of the century. This is without doubt the characteristic of the book which distinguishes it from any other dealing with the seventy years covered. The planning is strictly teleological; the clear focussing upon the terminus ad queen gives...
...variety of play popular in the transition from the Old Drama to the New, with its soliloquies, asides, mingling of individual and type characters dependent for effect on strong contrast, the brandy bottle, unnatural and strained diction, and false sentiment, de- fects present in diminishing quantity even in Robertson, as anyone who has seen 'Caste" knows. Prof. Watson never sneers at the audiences which found such plays reasonably satisfactory, provided that vivida vis were present; quite surprisingly he holds a brief for popular taste and decides that though "an English audience must be forcibly amused," it is useless to blame...