The Critical and Miscellaneous Prose Works of John Dryden: Now First Collected : with Notes and Illustrations, 1±Ç,ÆÄÆ® 2Cadell and Davies, 1800 - 596ÆäÀÌÁö |
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106 ÆäÀÌÁö
... of the season brought out Fletcher's PILGRIM , altered by Vanbrugh , with additions by Dryden ; exertions , which would scarcely have been necessary , if Farquhar's 6 profaneness is issued out in print ; but a 106 DRYDEN'S LEtters .
... of the season brought out Fletcher's PILGRIM , altered by Vanbrugh , with additions by Dryden ; exertions , which would scarcely have been necessary , if Farquhar's 6 profaneness is issued out in print ; but a 106 DRYDEN'S LEtters .
119 ÆäÀÌÁö
... Fletcher's ISLAND PRINCESS ( which Tate had unsuccessfully revived a few years before ) into a semi - opera ; for which musick was composed by Jere- miah Clarke , ( who , in 1697 , had the honour of setting Dryden's ALEXANDER'S FEAST ...
... Fletcher's ISLAND PRINCESS ( which Tate had unsuccessfully revived a few years before ) into a semi - opera ; for which musick was composed by Jere- miah Clarke , ( who , in 1697 , had the honour of setting Dryden's ALEXANDER'S FEAST ...
120 ÆäÀÌÁö
... Fletcher's , no more sense contains " Than he that wrote THE JUBILEE has brains ; " Which ne'er had pleas'd the town , or purchased fame , " But that ' twas christen'd with a modish name . " In a Petition presented to Queen Anne , about ...
... Fletcher's , no more sense contains " Than he that wrote THE JUBILEE has brains ; " Which ne'er had pleas'd the town , or purchased fame , " But that ' twas christen'd with a modish name . " In a Petition presented to Queen Anne , about ...
131 ÆäÀÌÁö
... Fletcher's , call'd THE PILGRIM , Corrected by my good friend , Mr. Vanbrook ; ' to which I have added a new Masque , 1 Deliverer of his faithful Dutch Guards , and wishing to mark their hatred of all those for whom he had any personal ...
... Fletcher's , call'd THE PILGRIM , Corrected by my good friend , Mr. Vanbrook ; ' to which I have added a new Masque , 1 Deliverer of his faithful Dutch Guards , and wishing to mark their hatred of all those for whom he had any personal ...
21 ÆäÀÌÁö
... Fletcher makes them , though in blank verse : I do not only acknowledge that , but that it is also improbable any will write so well that way . But . if that may be allowed improbable , I believe it may be concluded impossible that any ...
... Fletcher makes them , though in blank verse : I do not only acknowledge that , but that it is also improbable any will write so well that way . But . if that may be allowed improbable , I believe it may be concluded impossible that any ...
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acted action admire ¨¡neid afterwards alluded ancients appears argument Aristotle audience beauty believe Ben Jonson betwixt blank verse character Charles comedy confess Cotterstock Cousin Crites criticks daughter Dedication desire discourse DRAMATICK POESY Duke Earl earl of Dorset edition English errour Essay Eugenius excellent fancy father faults favour Fletcher French friends give heroick honour Horace humour ICON ANIMORUM imitation JACOB TONSON JOHN DRYDEN judge judgment kind King lady language last age letter lines Lisideius lord Buckhurst Lord Radcliffe Lord Roscommon Lordship MADAM nature never observed opinion Oundle Ovid passions person pleas'd plot poem poet poetry present printed probably publick qu©¡ reason rhyme scenes Servant Shakspeare Shakspeare's shew SILENT WOMAN Sir Robert Howard sonn speak stage Steward supposed theatre things thought tion tragedy translated Virgil virtue words writ write written
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83 ÆäÀÌÁö - All the images of nature were still present to him, and he drew them, not laboriously, but luckily; when he describes anything, you more than see it, you feel it too. Those who accuse him to have wanted learning give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards and found her there.
110 ÆäÀÌÁö - This last is indeed the representation of nature, but 'tis nature wrought up to an higher pitch. The plot, the characters, the wit, the passions, the descriptions are all exalted above the level of common converse, as high as the imagination of the poet can carry them, with proportion to verisimility.
83 ÆäÀÌÁö - I cannot say he is everywhere alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid; his comic wit degenerating into clenches, his serious swelling into bombast. But he is always great when some great occasion is presented to him; no man can say he ever had a fit subject for his wit, and did not then raise himself as high above the rest of poets *Quantum lenta solent inter viburna cupressi.
266 ÆäÀÌÁö - ... saw before him. He knew that any other passion, as it was regular or exorbitant, was a cause of happiness or calamity. Characters thus ample and general were not easily discriminated and preserved; yet perhaps no poet ever kept his personages more distinct from each other. I will not say with Pope, that every speech may be assigned to the proper speaker...
29 ÆäÀÌÁö - ... almost a new nature has been revealed to us ? that more errors of the school have been detected, more useful experiments in philosophy have been made, more noble secrets in optics, medicine, anatomy, astronomy, discovered, than in all those credulous and doting ages from Aristotle to us ? — so true it is, that nothing spreads more fast than science, when rightly and generally cultivated.
16 ÆäÀÌÁö - Ne pueros coram populo Medea trucidet, Aut humana palam coquat exta nefarius Atreus, Aut in avem Progne vertatur, Cadmus in anguem. Quodcunque ostendis mihi sic , incredulus odi.
86 ÆäÀÌÁö - One cannot say he wanted wit, but rather that he was frugal of it. In his works you find little to retrench or alter. Wit and language, and humour also, in some measure, we had before him ; but something of art was wanting to the drama till he came.
278 ÆäÀÌÁö - And thus still doing, thus he pass'd along. DUCH. Alas, poor Richard! where rides he the whilst? YORK. As in a theatre, the eyes of men, After a well-grac'd actor leaves the stage, Are idly bent on him that enters next, Thinking his prattle to be tedious : Even so, or with much more contempt, men's eyes Did scowl on Richard ; no man cried, God save him...
147 ÆäÀÌÁö - Our language is noble, full, and significant, and I know not why he who is master of it may not clothe ordinary things in it as decently as the Latin, if he use the same diligence in his choice of words.
166 ÆäÀÌÁö - Pontus ; we know that there is neither war nor preparation for war; we know that we are neither in Rome nor Pontus, that neither Mithridates nor Lucullus are before us. The drama exhibits successive imitations of successive actions, and why may not the second imitation represent an action that happened years after the first if it be so connected with it that nothing but time can be supposed to intervene ? Time is, of all modes of existence, most obsequious to the imagination; a lapse of years is...