The Album, Band 3J. Andrews., 1823 |
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Ergebnisse 1-5 von 58
Seite 3
... beautiful of the Greek tragedies . With what singular felicity of con- ception is the disposition of the unsuspecting Philoctetes , and of the ingenuous Neoptolemus contrasted with that of the crafty son of Laërtes ? And , in the other ...
... beautiful of the Greek tragedies . With what singular felicity of con- ception is the disposition of the unsuspecting Philoctetes , and of the ingenuous Neoptolemus contrasted with that of the crafty son of Laërtes ? And , in the other ...
Seite 4
... beautiful description of the sacrifice of Iphigenia , as an example of the very brightest excel- lence in pathetic writing . The peculiar situation of the Athenian people in the time of Æschylus was undoubtedly calculated to further ...
... beautiful description of the sacrifice of Iphigenia , as an example of the very brightest excel- lence in pathetic writing . The peculiar situation of the Athenian people in the time of Æschylus was undoubtedly calculated to further ...
Seite 6
... beautiful effusions of poetry to which it gives rise , is justly censurable , as tending to interrupt the harmony and connection which should subsist between every part of a dramatic plot . It is singular that Rome , generally the ...
... beautiful effusions of poetry to which it gives rise , is justly censurable , as tending to interrupt the harmony and connection which should subsist between every part of a dramatic plot . It is singular that Rome , generally the ...
Seite 24
... beautiful , in the whole range of dramatic poetry , than the story of Imogine , as she tells it to her attendant . With some few exceptions , it strongly exemplifies our hypo- thesis of the power which can be given to poetry in dialogue ...
... beautiful , in the whole range of dramatic poetry , than the story of Imogine , as she tells it to her attendant . With some few exceptions , it strongly exemplifies our hypo- thesis of the power which can be given to poetry in dialogue ...
Seite 25
... beautiful and pathetic as any thing we meet with in modern tragedy ; whether considered with reference to the beauty of the poetry , or the effect produced upon the audience . Fazio ranks among the best of Mr. Milman's compositions ; it ...
... beautiful and pathetic as any thing we meet with in modern tragedy ; whether considered with reference to the beauty of the poetry , or the effect produced upon the audience . Fazio ranks among the best of Mr. Milman's compositions ; it ...
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Häufige Begriffe und Wortgruppen
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
Beliebte Passagen
Seite 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.
Seite 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.
Seite 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.
Seite 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?
Seite 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.
Seite 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.
Seite 153 - And falling and brawling and sprawling, And driving and riving and striving, And sprinkling and twinkling and wrinkling, And sounding...
Seite 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.
Seite 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...
Seite 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.