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afraid ANTHONY BARTHWICK BERTLEY better BRADMERE BURLACOMBE can't CANYNGE chair Chairman CLERK close Clyst COKESON COLFORD comes course Dancy dear don't door drink EDGAR ENID enters eyes face FALDER falls father feel FERRAND fire follows FROME give GODLEIGH goes GOVERNOR GRAVITER hand HARNESS head holds Hoxton INSPECTOR It's Jack James Jones JUDGE keep Lady leave Levis look MABEL MAGISTRATE MARGARET Marlow mean MEGAN mind Monsieur morning moves never once passes play poor prisoner ROBERTS round Ruth SCANTLEBURY seen shakes silence sits smile sort speak stands stops STRANGWAY suddenly suppose talk tell Tench Thank There's thing Thomas thought Timson told turns TWISDEN voice waiting WALTER WANKLIN Wellwyn What's wife WILDER window Winsor wish woman young
Halaman 134 - D'you know, sir — these terms, they're the very same we drew up together, you and I, and put to both sides before the fight began? All this — all this — and — and what for?
Halaman 104 - The fight o' the country's body and blood against a blood-sucker. The fight of those that spend themselves with every blow they strike and every breath they draw, against a thing that fattens on them, and grows and grows by the law of merciful Nature. That thing is Capital! A thing that buys the sweat o' men's brows, and the tortures o' their brains, at its own price.
Halaman 64 - January 21st, 24th, 26th, 29th. Read letter from Mr. Simon Harness, of the Central Union, asking for an interview with the Board. Read letter from the Men's Committee, signed David Roberts, James Green, John Bulgin, Henry Thomas, George Rous, desiring conference with the Board ; and it was resolved that a special Board Meeting be called for February 7th at the house of the Manager, for the purpose of discussing the situation with Mr. Simon Harness and the Men's Committee on the spot. Passed twelve...
Halaman 79 - First would go your sentii ments, my dear ; then your culture, and your comforts would be going all the time! ENID. I don't believe in barriers between classes. ANTHONY. You — don't — believe — in — barriers — between the classes? ENID. [Coldly.] And I don't know what that has to do with this question. ANTHONY. It will take a generation or two for you to understand. ENID.
Halaman 77 - ... they will starve sooner than give way. I advise ye, Mr. Anthony, to prepare yourself for the worst that can happen to your Company. We are not so ignorant as you might suppose. We know the way the cat is jumping. Your position is not all that it might be — not exactly ! ANTHONY.
Halaman 74 - I did n't know what I was talking about. I was a foolish, uneducated man, that knew nothing of the wants of the men I spoke for, EDGAR.
Halaman 116 - PARLOURMAID ushers in MADGE THOMAS and goes out; MADGE stands by the door.] ENID. Come in. What is it? What have you come for, please ? MADGE. Brought a message from Mrs. Roberts. ENID. A message? Yes. MADGE. She asks you to look after her mother. ENID. I don't understand. MADGE. [Sullenly.
Halaman xix - Flavour, in fine, is the spirit of the dramatist projected into his work in a state of volatility, so that no one can exactly lay hands on it, here, there, or anywhere. This distinctive essence of a play, marking its brand, is the one thing at which the dramatist cannot work, for it is outside his consciousness.
Halaman 79 - What d' you imagine stands between you and your class and these men that you're so sorry for? ENID. [Coldly.] I don't know what you mean, Father. ANTHONY. In a few years you and your children would be down in the condition they're in, but for those who have the eyes to see things as they are and the backbone to stand up for themselves. ENID. You don't know the state the men are in. ANTHONY. I know it well enough. ENID. You don't, Father; if you did, you would n't ANTHONY.
Halaman xvii - Now, true dramatic action is what characters do, at once contrary, as it were, to expectation, and yet because they have already done other things. No dramatist should let his audience know what is coming; but neither should he suffer his characters to act without making his audience feel that those actions are in harmony with temperament, and arise from previous known actions, together with the temperaments and previous known actions of the other characters in the play. The dramatist who hangs his...