Word: tragical
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Dates: during 1880-1889
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...much of a contrast that it hardly seems in keeping with the rest of the symphony. The fifth symphony of Beethoven presents a much better example of a consistent whole, resting on a psychological. In it the name scherzo, is omitted from the third movement, which is essentially tragic in character and thus sustains a proper relation to the other movements. In the Eroica the scherzo certainly affords needed relaxation, after the gloom of the funeral march, yet one would wish that the descent were not quite so rapid, and surely the title of scherzo is decidedly out of place...
...lives not at all as aggregates, but as organisms. Even so with other men's lives. We must value human life as a whole, not through addition of happy and miserable men, but with respect to the unity of the whole of life. This is the reason why tragic experiences may have far more worth than experiences of mere placid contentment; for tragic situations often give a unity, an organism to life, that is missed in times of joyous contentment. This last point the lecturer illustrated from the Prometheus of Shelley, comparing the grandeur of the world of struggle...
...concert by the Glee Club and Pierian, announced for Friday evening, promises to be one of more than ordinary interest. A programme of unusual novelty and merit has been prepared, and both organizations have spent a long time in rehearsing. The chief feature of the programme is a "Tragic Cantata," entitled "The Grasshopper," to be given by the Glee Club, accompanied by the Pierian. This cantata was recently given at the Grand Opera House in Baltimore with great success, but has never been heard in Boston. The Glee Club also have some new college songs, which they intend to sing...
...effect upon the eye. Her facial expression also was poor, and during the greater part of the time she was on the stage her action was not nearly so strong as the character demanded. Her enunciation was indistinct in many places, and throughout she made use of an assumed tragic voice that was not natural. In her final scene, however, just before Jocasta leaves the stage for the last time, she gave a fine bit of acting, far above the mediocre, for which she was recalled upon the stage...
Especial interest, of course, centres upon Miss Georgia Cayvan, who appears before her Boston friends for the first time in tragic acting. We do not think that a better selection could have been made for the difficult part of Jocasta. While at the Madison square Miss Cayvan has been recognized as an actress of undoubted talent, but we think that the perfection with which she rendered her part in this play will surprise even her most ardent admirers. She displays throughout a strength and, at the same time, a delicacy of feeling that is equalled only by her superior gesture...