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" Not easily have we three come to this, We three who now are dead. Unwillingly They loved, unwillingly I slew them. Now I kiss them on the forehead quietly. "
The Edinburgh Review: Or Critical Journal - Страница 74
1900
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Aspects of Modern Drama

Frank Wadleigh Chandler - 1914 - 494 страница
...Giovanni looks upon them, his madness leaves him. Quietly, he kisses the foreheads of his victims, saying: "I did not know the dead could have such hair. Hide them. They look like children fast asleep." This mood is akin to that in which Maeterlinck concludes "Pe'lle'as and Mdlisande," rather than to...
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Catholic World, Том 106

1918
...forehead quietly. He is shaken — then the agony .breaks from his lips in one last quivering cry: She takes away my strength. I did not know the dead...hair. Hide them ! They look like children fast asleep ! Stephen Phillips' next play, Herod, might be described as a work of almost aching beauty. Its dramatic...
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The Encyclopedia Americana: A Library of Universal Knowledge, Том 21

1919
...expressed in Giovanni's closing lines, as he looks upon the dead lovers : . . " She takes away my breath. I did not know the dead could have such hair. Hide them. They look like children fast asleep." 'Paolo and Francesca' was first performed in London in 1902 and in New York in 1906. PAPACY, the doctrine...
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Books in General, Том 1

Sir John Collings Squire, Solomon Eagle - 1919 - 281 страница
...skilful ending : the murder behind the scenes, the bodies brought in, the murderer's revulsion : / did not know the dead could have such hair. Hide them. They look like children fast asleep. But those who did not shrink from comparing it with Romeo and Juliet omitted to notice the same deficiencies...
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The Sewanee Review, Том 29

1921
...air." Bending over them, Giovanni kisses them on the foreheads and in a shaken voice concludes : — " She takes away my strength. I did not know the dead...Hide them. They look like children fast asleep." The final scene is not unlike that of a Greek tragedy, "all passion spent". D'Annunzio's play, Francesca...
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The Living Drama: Historical Development and Modern Movements Visualized, a ...

Nellie Burget Miller - 1924 - 437 страница
...and the quiet kiss of Giovanni is a most fitting finale for the characters as Mr. Phillips drew them: I did not know the dead could have such hair. Hide them. They look like children fast asleep. In Sherwood, Alfred Noyes has retold the Robin Hood legend and created a very lovable fool in Shadow-of-a-Leaf,...
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Contemporary Plays: Sixteen Plays from the Recent Drama of England and America

Thomas Herbert Dickinson - 1925 - 650 страница
...bends over the bodies and kisses them on the forehead. He is shaken.] Luc. What ails you now? Gio. She takes away my strength. I did not know the dead...asleep! [The bodies are reverently covered over.] CURTAIN L. THE VOYSEY INHERITANCE A PLAY, IN FIVE ACTS BY HARLEY GRANVILLE-BARKER Mr. Granville-Barker...
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Contemporary Plays: Sixteen Plays from the Recent Drama of England and America

Thomas Herbert Dickinson, Jack Randall Crawford - 1925 - 650 страница
...bends over the bodies and kisses them on the forehead. He is shaken.] Luc. What ails you now? Gio. She takes away my strength. I did not know the dead...asleep! [The bodies are reverently covered over.] CUBTAIN THE VOYSEY INHERITANCE A PLAY, IN FIVE ACTS BY HARLEY GRANVILLE-BARKER Mr. Granville-Barker...
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A Study of the Modern Drama: A Handbook for the Study and Appreciation of ...

Barrett Harper Clark - 1925 - 527 страница
...93) PAOLO. Why did you shiver and turn sudden cold? FRANCESCA. I felt a wind pass over me. (p. 1n) I did not know the dead could have such hair. Hide them. They look like children fast asleep, (p. 12o) These are lines that could not be so effective were they not spoken by the right person under...
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The Twentieth Century, Том 46

1899
...bends over the bodies and lasses them on the forehead. He in shaken. Luc. "What ails you now ? Gio. She takes away my strength. I did not know the dead...asleep ! [The bodies are reverently covered over. Quotations and summaries of argument can, however, give no adequate conception of the sustained movement...
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