Cursory Remarks on Tragedy, on Shakespeare and on Certain French and Italian Poets, Principally TragediansW. Owen, 1774 - 242 pages |
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Page viii
... resemblance , as a dead body does to a living one . It is true , it may pos- fibly be known by its features ; but where is the vivid penetration of the eye , the ruddy warmth of complex- ion , the spirit , animation , and energy of the ...
... resemblance , as a dead body does to a living one . It is true , it may pos- fibly be known by its features ; but where is the vivid penetration of the eye , the ruddy warmth of complex- ion , the spirit , animation , and energy of the ...
Page 12
... resemble nature it must resemble truth , or otherwise the probability of truth , art will be too evident , contrary to the the known maxim , ars eft celare artem ; or 12 Introduction .
... resemble nature it must resemble truth , or otherwise the probability of truth , art will be too evident , contrary to the the known maxim , ars eft celare artem ; or 12 Introduction .
Page 18
... of his maid , and exposed it at a win- dow , at which fhe had used fre- quently to place herself . Her neighbours came as ufual , and de- ceived ceived by the exact resemblance began to enter into converfation 18 Introduction .
... of his maid , and exposed it at a win- dow , at which fhe had used fre- quently to place herself . Her neighbours came as ufual , and de- ceived ceived by the exact resemblance began to enter into converfation 18 Introduction .
Page 19
William Richardson. ceived by the exact resemblance began to enter into converfation with the picture . Shall we then allow it to be poffible that a piece of painted canvas may be mistaken for the very person , of whom it is but the ...
William Richardson. ceived by the exact resemblance began to enter into converfation with the picture . Shall we then allow it to be poffible that a piece of painted canvas may be mistaken for the very person , of whom it is but the ...
Page 44
... resemblance . Shakespear's preternatural beings seem to need little or no juftification ; they are fuch as were fanctified by tradition and vulgar credulity ; he has fupported them with dignity and folemnity , has made them great- ly ...
... resemblance . Shakespear's preternatural beings seem to need little or no juftification ; they are fuch as were fanctified by tradition and vulgar credulity ; he has fupported them with dignity and folemnity , has made them great- ly ...
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Cursory Remarks on Tragedy, on Shakespeare and on Certain French and Italian ... William Richardson,Edward Taylor No preview available - 2016 |
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abfurd Æneid affertion Affur AGAMEMNON antient Anxur Arface beauty becauſe Canto cauſe cenfure character Cinna compofitions confequently Corneille critic defign deſcription difpofition diſcover Engliſh Euripides expreffion faid fame fays feems fenfibility fentiments fhall fhew firſt fituation fome foon fpectator fpeech fpirit French ftage fubject fublime fuch fuppofe furely Grecian guage heroes herſelf himſelf hiſtory imitation inftances intereſting IPHIGENIE Italian Italian language itſelf leaſt lefs merit Merope mifery miſtaken moft moſt muft muſt myſelf nature neceffary Ninus obfcured obferved occafions Othello paffage paffions paſtoral perfon phontes pity pleaſe pleaſure poem poet poetry poffible preſent racter reader reaſon repreſent repreſentation reſemblance Rinaldo Romans ſame ſay ſcene ſee ſeem Semiramis ſerve Shakeſpear ſhall ſhe ſhould ſome ſpeak ſtage ſtriking ſuch ſuppoſe Taffo theatre themſelves theſe thofe thoſe tragedian tragedy tragic tranflated uſed verfe Vide Virgil Voltaire whilft whofe writers
Popular passages
Page 67 - I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn as you Have done to this.
Page 66 - Than wishest should be undone. Hie thee hither, That I may pour my spirits in thine ear; And chastise with the valour of my tongue All that impedes thee from the golden round, Which fate and metaphysical aid doth seem To have thee crown'd withal.
Page 14 - Spit, fire! spout, rain! Nor rain, wind, thunder, fire, are my daughters: I tax not you, you elements, with unkindness; I never gave you kingdom, call'd you children, You owe me no subscription: then let fall Your horrible pleasure; here I stand, your slave, A poor, infirm, weak, and despis'd old man.
Page 83 - tis not to me she speaks. Two of the fairest stars in all the heaven Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head?
Page 6 - The objection arising from the impossibility of passing the first hour at Alexandria and the next at Rome supposes that, when the play opens, the spectator really imagines himself at Alexandria, and believes that his walk to the theatre has been a voyage to Egypt, and that he lives in the days of Antony and Cleopatra. Surely he that imagines this may imagine more.
Page 54 - tis his ; and has been flave to tho-ufands; But he, that filches from me my good name, Robs me of That, which not enriches him, And makes me poor indeed.
Page 85 - Give me my Romeo: and when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.
Page 219 - Sirius burns the thirfty plains, While in thy heart eternal winter reigns. Where ftray ye, Mufes, in what lawn or grove, While your Alexis pines in hopelefs love ? In thofe fair fields where facred Ifis glides, Or elfe where Cam his winding vales divides...
Page 194 - Nature seems dead, and wicked dreams abuse The curtain'd sleep ; now witchcraft celebrates Pale Hecate's offerings ; and wither'd murder, Alarum'd by his sentinel, the wolf, Whose howl's his watch, thus with his stealthy pace, With Tarquin's ravishing strides, towards his design Moves like a ghost.
Page 85 - Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new Inow on a raven's back. Come, gentle night; come, loving, black-brow'd night...