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Addiſon afterwards anſwer appear beauty beſt better called character charms comedy common Congreve delight died Dryden earl elegant Engliſh epigram equal excellence eyes face fair fame Fenton fight firſt fome French friends give gods grace hands hero himſelf honour houſe imitation kind king known laſt learned leave leſs lines lived looks lord Love mentioned mind moſt Muſe muſt nature never numbers occaſion once Oxford paint party perhaps pieces play pleaſing pleaſure poem poet poetry Pope praiſe preſent Prior produced publick publiſhed Queen reaſon received requires Rowe ſaid ſame ſay ſcene ſee ſeems ſenſe ſhall ſhould ſome ſometimes ſtate ſtill ſuch ſuppoſed theſe thing thoſe Thou thought Tickell tion tranſlated true truth turn uſed verſe whoſe write written wrote
الصفحة 24 - His scenes exhibit not much of humour, imagery, or passion : his personages are a kind of intellectual gladiators ; every sentence is to ward or strike ; the contest of smartness is never intermitted ; his wit is a meteor playing to and fro with alternate coruscations.
الصفحة 27 - And terror on my aching sight; the tombs And monumental caves of death look cold, And shoot a dullness to my trembling heart. Give me thy hand, and let me hear thy voice; Nay, quickly speak to me, and let me hear Thy voice — my own affrights me with its echoes.
الصفحة 16 - The cause of Congreve was not tenable; whatever glosses he might use for the defence or palliation of single passages, the general tenour and tendency of his plays must always be condemned. It is acknowledged, with universal conviction, that the perusal of his works will make no man better ; and that their ultimate effect is to represent pleasure in alliance with vice, and to relax those obligations by which life ought to be regulated.
الصفحة 26 - Whistling thro' hollows of this vaulted isle: We'll listen— LEONORA. Hark! ALMERIA. No, all is hush'd, and still as death. — Tis dreadful! How reverend is the face of this tall pile; Whose ancient pillars rear their marble heads, To bear aloft its arch'd and pond'rous roof, By its own weight made stedfast and immoveable, Looking tranquillity!
الصفحة 27 - He who reads these lines enjoys for a moment the powers of a poet ; he feels what he remembers to have felt before ; but he feels it with great increase of sensibility ; he recognizes a familiar image, but meets it again amplified and expanded, embellished with -beauty and enlarged with majesty.
الصفحة 4 - ... excelled his original in the moral effect of the fiction. Lothario, with gaiety which cannot be hated, and bravery which cannot be despised, retains too much of the spectator's kindness. It was in the power of Richardson alone to teach us at once esteem and detestation, to make virtuous resentment overpower all the benevolence which wit, and elegance, and courage, naturally excite; and to lose at last the hero in the villain.
الصفحة 53 - All I can say for those passages, which are, I hope, not many, is, that I knew they were bad enough to please, even when I writ them...
الصفحة 13 - ... and with all those powers exalted and invigorated by just confidence in his cause. Thus qualified, and thus incited, he walked out to battle, and assailed at once most of the living writers, from Dryden to D'Urfey.
الصفحة 23 - ... accumulation of attentive parsimony, which, though to her superfluous and useless, might have given great assistance to the ancient family from which he descended, at that time by the imprudence of his relation reduced to difficulties and distress.
الصفحة 14 - His onset was violent; those passages, which, while they stood single, had passed with little notice, when they were accumulated and exposed together, excited horror. The wise and the pious caught the alarm, and the nation wondered why it had so long suffered irreligion and licentiousness to be openly taught at the public charge.