" -"

(#3495)
08.08.2003 18:09 - 08.08.2003 20:03
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, Crusoe
. (5) Crusoe
. . (4) Crusoe
(4) Crusoe
. . (3) Crusoe
(3) Crusoe
(2) Crusoe
(1) Crusoe
NN
 
Crusoe
08.08.2003 20:03:43
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: ,
E-mail: crusoe@on-island.net

, .



08.08.2003 19:59:31
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: 

... , , -?


Crusoe
08.08.2003 19:54:02
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: . (5)
E-mail: crusoe@on-island.net

, (1753 ) . Ÿ 1823 , 70 . ; .
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Crusoe
08.08.2003 19:53:21
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: . . (4)
E-mail: crusoe@on-island.net

, "" ("") . 15- . ( ) , .
++
. . , . , ., . . , : "" (. , . . 1772), " " (. . id.), "" (, ., . 1773 . 1787)....
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. 1823/24 , "" .
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Hector Berlioz
1823/4 Beverley ou Le joueur
scene dramatique pour basse avec orchestre
Texte: Bernard-Joseph Saurin
[Perdu]

In 1823 he composed an opera on Florians Estelle et Nemorin referring to childhood memories and doubtless childhood melodies too. This, like the two works that followed - a scene for bass from Saurins Beverley and the Latin oratorio Le passage de la mer rouge - was later burnt, on Berliozs confession.
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Crusoe
08.08.2003 19:51:49
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:  (4)
E-mail: crusoe@on-island.net

, "" ("") . 15- . ( ) , .
++
. . , . , ., . . , : "" (. , . . 1772), " " (. . id.), "" (, ., . 1773 . 1787)....
++

. 1823/24 , "" .
++
Hector Berlioz
1823/4 Beverley ou Le joueur
scne dramatique pour basse avec orchestre
Texte: Bernard-Joseph Saurin
[Perdu]

In 1823 he composed an opera on Florians Estelle et Nmorin referring to childhood memories and doubtless childhood melodies too. This, like the two works that followed C a scene for bass from Saurins Beverley and the Latin oratorio Le passage de la mer rouge C was later burnt, on Berliozs confession.
++


Crusoe
08.08.2003 19:50:26
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: . . (3)
E-mail: crusoe@on-island.net

, : The Cambridge History of English and American Literature in 18 Volumes (1907-21). Volume X. The Age of Johnson. IV. The Drama and the Stage. 13. Edward Moores Gamester.
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In The Gamester, prose domestic tragedy again prevails. Moore dramatises a new commandment--"Thou shalt not gamble." To the playful hits of Pope and the more vigorous attacks of Addison upon gambling, Moore gave tragic intensity. The very singleness of his purpose gives unity to his drama. Without remarkable dramatic skill, he conceived his framework on large lines, and, in many ways, executed it impressively. He stoops, at times, to melodrama, in the use of surprise; but, like Lillo, he shows dramatic restraint in not permitting Mrs. Beverley to expire on her husbands corpse. His failure to introduce his hero in the actual setting of the gaming-house seems, however, a needless sacrifice of a situation that would have strengthened at least the acting possibilities of the drama. Moores prose, despite obvious evidences of unnaturalness, marks an advance over Lillos. Yet the later writers own confession, 29 that in scenes of elevated passion, it was harder to refrain from verse than to produce it, helps to explain Lillos inflated diction. Diderot coupled The Gamester and The Merchant of London as instances of English tragedies in prose, and Saurins vein in Beverlei (176 is further evidence of Moores influence on the continental drama.
++


Crusoe
08.08.2003 19:46:48
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:  (3)
E-mail: crusoe@on-island.net

, : The Cambridge History of English and American Literature in 18 Volumes (1907C21). Volume X. The Age of Johnson. IV. The Drama and the Stage. 13. Edward Moores Gamester.
++
In The Gamester, prose domestic tragedy again prevails. Moore dramatises a new commandmentThou shalt not gamble. To the playful hits of Pope and the more vigorous attacks of Addison upon gambling, Moore gave tragic intensity. The very singleness of his purpose gives unity to his drama. Without remarkable dramatic skill, he conceived his framework on large lines, and, in many ways, executed it impressively. He stoops, at times, to melodrama, in the use of surprise; but, like Lillo, he shows dramatic restraint in not permitting Mrs. Beverley to expire on her husbands corpse. His failure to introduce his hero in the actual setting of the gaming-house seems, however, a needless sacrifice of a situation that would have strengthened at least the acting possibilities of the drama. Moores prose, despite obvious evidences of unnaturalness, marks an advance over Lillos. Yet the later writers own confession, 29 that in scenes of elevated passion, it was harder to refrain from verse than to produce it, helps to explain Lillos inflated diction. Diderot coupled The Gamester and The Merchant of London as instances of English tragedies in prose, and Saurins vein in Bverlei (176 is further evidence of Moores influence on the continental drama.
++


Crusoe
08.08.2003 19:46:01
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:  (2)
E-mail: crusoe@on-island.net

:
++
(1712-57), . : "" (174, " " (1751), "" (1753; "").
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++


Crusoe
08.08.2003 19:42:48
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:  (1)
E-mail: crusoe@on-island.net

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++

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: ? , : . "": Bernard-Joseph SAURIN (1706-1781), , , , , , - . 1761 ( 39). : " . !"


NN
08.08.2003 18:09:12
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: 
E-mail: naraz@tula.net

...


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