The Analectic Magazine ...: Comprising Original Reviews, Biography, Analytical Abstracts of New Publications, Translations from French Journals, and Selections from the Most Esteemed British Reviews, Volume 5
James Maxwell, 1815
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admirable Algiers ANALECTIC appear attention Bashaw beauty Cabri called Cameahwait canoes Captain Lewis character chief circumstance criticism death delight Eaton Edinburgh Edinburgh Review effect enemy fair favour feelings fire friends genius give hand heart heaven Hogarth honey-dew honour hour human hundred Indians interest island John Tomkins kikino Kilmorack labour land late literary living look Lower Canada Mandans manner means ment merit miles mind Missouri moral mountains nation nature never New-York o'er object observations occasion opinion party passed passion pepper-box perhaps persons philosophical pleasure poem poet poetical poetry political present racter Rake's Progress readers respect Review river Rye House Plot Sachalin Sackett's Harbour scene seems sermons Shakspeare ship side society soon soul spirit style talents taste thing thou thought tion Tripoli volume Waverley whole Zerah Colburn
Page 511 - That not to know at large of things remote From use, obscure and subtle, but to know That which before us lies in daily life, Is the prime wisdom...
Page 69 - What gesture shall we appropriate to this ? What has the voice or the eye to do with such things ? But the play is beyond all art, as the tamperings with it show ; it is too hard and stony ; it must have love-scenes and a happy ending. It is not enough that Cordelia is a daughter, she must shine as a lover too. Tate has put his hook in the nostrils of this Leviathan, for Garrick and his followers, the showmen of the scene, to draw the mighty beast about more easily.
Page 69 - ... from the ordinary purposes of life, but exerting its powers, as the wind blows where it listeth, at will upon the corruptions and abuses of mankind. What have looks or tones to do with that sublime identification of his age with that of the heavens themselves^ when, in his reproaches to them for conniving at the injustice of his children, he reminds them that "they themselves are old?
Page 338 - How charming is divine Philosophy! Not harsh and crabbed, as dull fools suppose, But musical as is Apollo's lute, And a perpetual feast of nectar'd sweets, Where no crude surfeit reigns.
Page 66 - O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand.
Page 16 - When the ear heard me, then it blessed me; and when the eye saw me, it gave witness to me; because I delivered the poor that cried, and the fatherless, and him that had none to help him. The blessing of him that was ready to perish came upon me : and I caused the widow's heart to sing for joy.
Page 68 - The truth is, the Characters of Shakspeare are so much the objects of meditation rather than of interest or curiosity as to their actions, that while we are reading any of his great criminal characters, — Macbeth, Richard, even lago, — we think not so much of the crimes which they commit, as of the ambition, the aspiring spirit, the intellectual activity, which prompts them to overleap those moral fences.
Page 59 - Wide o'er this breathing world, a Garrick came. Though sunk in death the forms the Poet drew, The Actor's genius bade them breathe anew; Though, like the bard himself, in night they lay, Immortal Garrick call'd them back to day: And till ETERNITY with power sublime, Shall mark the mortal hour of hoary TIME, SHAKSPEARE and GARRICK like twin stars shall shine, And earth irradiate with a beam divine. It would be an insult to my readers' understandings to attempt any thing like a criticism on this farrago...
Page 63 - ... the most sequestered parts of the palace to pour forth; or rather, they are the silent meditations with which his bosom is bursting, reduced to words for the sake of the reader, who must else remain ignorant of what is passing there. These profound sorrows, these light-andnoise-abhorring ruminations, which the tongue scarce dares utter to deaf walls and chambers, how can they be represented by a gesticulating actor, who comes and mouths them out before an audience, making four hundred people...