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A woman's honour is her safest guard.
The Honey Moon. Act 11.

Scene 1.

MORTON.

What will Mrs. Grundy say ?*

Speed the Plough. Act v.

Scene I.

Approbation from Sir Hubert Stanley is praise indeed. Cure for the Heartache. Act v. Scene 2.

SOUTHEY.

a

He pass’d a cottage with a double coach house,
A cottage of gentility;

And he own'd with a grin,

That his favourite sin,
Is pride that apes humility.

The Devil's Walk.+

* The expression, slightly varied, occurs repeatedly throughout the comedy.

+ The authorship of this poem was for some time disputed. It was at first attributed to Porson ; Coleridge, too, had the questionable honour of its paternity conferred on him ; Southey, however, wrote it, though it seems to be admitted that Coleridge added several stanzas.

R

WOLFE

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No useless coffin enclos'd his breast,

Nor in sheet nor in shroud we wound him :
But he lay like a warrior taking his rest,
With his martial cloak around him.

The Burial of Sir John Moore.

a

COLERIDGE.

He went like one that hath been stunned,

And is of sense forlorn :
A sadder and a wiser man
He rose the morrow morn.

The Ancient Mariner. Concluding Lines.

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[ care for nobody, no, not I, If no one cares for me.

Love in a Village. Act I, Scene 3.

LEE.

When Greeks join'd Greeks, then was the tug of war. Alexander the Great. Act iv.

Scene 1.

CONGREVE.

Ferdinand Mendez Pinto was but a type of thee, chou liar of the first magnitude !+ Love for Love. Act 11.

Scene I.

Music has charms to sooth a savage breast,
To soften rocks, or bend a knotted oak;
I've read that things inanimate have moved,
And, as with living souls, have been inform’d,
By magic numbers and persuasive sound.

The Mourning Bride. Act i.

Scene 1.

* It is very unusual to hear this line correctly used. " When Greek meets Greek, then comes the tug of war," is the way we hear it generally given.

+ Ferdinand Mendez Pinto was a celebrated Portuguese navigator. He published an account of his travels, which contained so much of the marvellous that his name became a by-word for extravagant fiction.

Heaven has no rage like love to hatred turn’d,
Nor hell a fury like a woman scorn’d.
The Mourning Bride. Act 11.

Scene I.

HENRY CAREY.*

a

Go, call a coach, and let a coach be called ;
And let the man that calls it be the caller ;
And in his calling, let him nothing call,
But coach, coach, coach! Oh for a coach, ye gods !

Chrononhotonthologos, a Mock Heroic Play. Scene 5.

HOME.

I found myself
As women wish to be who love their lords.

Douglas. Act I.

Scene 1.

* The authorship of “God save the King" has been attributed to Carey, but it is now generally admitted that Dr. Bull wrote it. See Quotations from Thomson, foot KOTZEBUE.

note.

There is another and a better world.

The Stranger. Act 1.

Scene 1.*

CANNING.

Story! God bless you! I have none to tell, sır.

The Friend of Humanity and the Knife Grinder,

from the Poetry of the Antijacobin.

* “ The Stranger," a play still popular on the stage, is a translation from the German of Kotzebue, by Benjamin Thompson.

+ Southey's little poem “The Widow," is burlesqued in “ The Friend of Humanity and the Knife Grinder." Canning is generally recognised as the author of it, as well as of “New Morality,” from which the two next quota. tions are taken; some portions however of both contributions were, it would seem, written by his editorial coadjutors in the “ Antijacobin." The reader desirous of further information is referred to the reprint of the Antijacobin," a 12mo volume, ably edited by Mr. Charles Edmonds. “The Rovers,” in Mr. Edmonds' amusing reprint, is recorded as a joint production of Canning and his literary helpmates, Frere, Gifford, and Ellis; it is a burlesque on the German dramatic school.

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