The Album, Volume 3J. Andrews., 1823 - Great Britain |
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Page 1
... language . In the remote ages of literature , the images of descriptive writing are found to spring from observ- ation of the works of nature , and from familiarity with the most simple and primitive employments . On the inspir- ing ...
... language . In the remote ages of literature , the images of descriptive writing are found to spring from observ- ation of the works of nature , and from familiarity with the most simple and primitive employments . On the inspir- ing ...
Page 2
... language , but much also of lucid arrangement , and theatrical effect * . We are disposed to go still farther , and to inquire whether some of the plays of our own time so far excel * In the time of Thespis , the drama consisted of a ...
... language , but much also of lucid arrangement , and theatrical effect * . We are disposed to go still farther , and to inquire whether some of the plays of our own time so far excel * In the time of Thespis , the drama consisted of a ...
Page 4
... language and dignified artlessness of plot , which characterize the drama of Eschylus . He is , indeed , the Homer of tragedians ; and , like him , his very defects become hallowed , when considered only as betokening how rude and ...
... language and dignified artlessness of plot , which characterize the drama of Eschylus . He is , indeed , the Homer of tragedians ; and , like him , his very defects become hallowed , when considered only as betokening how rude and ...
Page 7
... language renders the author unable to embody his conception in appropriate powers of expression . They are always most sublime when the idea is briefly conveyed , as in the famous line of Racine ; Je crains Dieu , cher Abner - et n'ai ...
... language renders the author unable to embody his conception in appropriate powers of expression . They are always most sublime when the idea is briefly conveyed , as in the famous line of Racine ; Je crains Dieu , cher Abner - et n'ai ...
Page 8
... language beyond what we had be- lieved the French Alexandrine capable of receiving ; and we have only to regret that with powers so eminently calculated to burst the fetters of prejudice , this distin- guished writer should still adhere ...
... language beyond what we had be- lieved the French Alexandrine capable of receiving ; and we have only to regret that with powers so eminently calculated to burst the fetters of prejudice , this distin- guished writer should still adhere ...
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Common terms and phrases
Adam Blair admirable Æschylus Ali Pacha ancient Angels Apis appeared arms beautiful body called Captain Franklin Catline character Charles Kemble colour composite order death delight dramatic effect expression eyes Faulconbridge Faust feeling feet fire Fort Chipewyan genius Gibeah give Glenoe Græme Greeks hand happiness head heard heart heaven Hepburn honour Hood human imagination inches Indians language less lips living look Lord Lord Byron Lucy manner means ment Meph Mephistopheles mind Morea Mussulmen mysteries nature never night Osiris Othello passed passion Peloponnesus perhaps person Phorcys play poetical poetry racter reader recollection rites round scarcely scene seemed seen Serapeum Serapis Shakspeare shew side snow soul speak spirit style success taste thing thou thought tion tragedy tribe tripe de roche truth turn voice whilst whole words writing young
Popular passages
Page 21 - I'll not shed her blood, Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster. Yet she must die, else she'll betray more men. Put out the light, and then put out the light.
Page 298 - Her feet beneath her petticoat Like little mice stole in and out, As if they feared the light: But, oh ! she dances such a way— No sun upon an Easter day Is half so fine a sight.
Page 410 - A countenance in which did meet Sweet records, promises as sweet ; A creature not too bright or good For human nature's daily food, For transient sorrows, simple wiles, Praise, blame, love, kisses, tears, and smiles.
Page 429 - Why, this is hell, nor am I out of it. Think'st thou that I, who saw the face of God And tasted the eternal joys of heaven, Am not tormented with ten thousand hells, In being depriv'd of everlasting bliss?
Page 388 - In a dramatic composition the imagery and the passion should interpenetrate one another, the former being reserved simply for the full developement and illustration of the latter. Imagination is as the immortal God which should assume flesh for the redemption of mortal passion.
Page 410 - She was a Phantom of delight When first she gleamed upon my sight; A lovely Apparition sent To be a moment's ornament; Her eyes as stars of Twilight fair; Like Twilight's, too, her dusky hair; But all things else about her drawn From May-time and the cheerful Dawn; A dancing Shape, an Image gay, To haunt, to startle, and waylay.
Page 153 - And falling and brawling and sprawling, And driving and riving and striving, And sprinkling and twinkling and wrinkling, And sounding...
Page 97 - Tis but as ivy-leaves around the ruin'd turret wreath, All green and wildly fresh without, but worn and grey beneath. Oh, could I feel as I have felt, — or be what I have been, Or weep as I could once have wept, o'er many a vanish'd scene ; As springs in deserts found seem sweet, all brackish though they be, So, midst the wither'd waste of life, those tears would flow to me.
Page 94 - My joy was in the Wilderness, to breathe The difficult air of the iced mountain's top, Where the birds dare not build, nor insect's wing Flit o'er the herbless granite...
Page 153 - Sounds and motions forever and ever are blending, All at once and all o'er, with a mighty uproar, — And this way the water comes down at Lodore.