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Cursory Remarks on Tragedy, on Shakespeare and on Certain French and Italian ...
William Richardson,Edward Taylor
No preview available - 2016
absurd Æneid Agamemnon allow Aminta antient Anxur appear Aristotle Arsace assertion audience Azema beauty Canto censure character chorusses Cinna condemn Corneille critic death disposition Emilia endeavour English Euripides fancy feel French Gierusalemme Grecian guage heroes Homer honour Horace horror imitation Iphigenie Ismen Italian language Italian poet jours language Lear Lydie manner means ments merit Merope Metastasio misery mistaken modern mould murder muse narch nations nature Ninus object observed occasions opera Othello passage passions pastoral pastoral poetry perhaps person phontes piece pity poem poet poetry Poliphontes Polyxena present prevailed propriety Racine racter reader repre representation represented rhime Rinaldo Romans scene seems Semiramis sensibility sentiments Sestus Shakespear shew situation sovra spectator speech stage sublime suppose Sylvia Tasso taste tender theatre tion tragedian tragedy tragic muse tragic poet truth unhappy verse Vide Virgil virtue Voltaire whilst word writers writings and genius
Page 63 - 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 10 - 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 79 - 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 2 - 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 48 - 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 81 - 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 215 - 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 190 - 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.