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acting affected Allan appear beautiful believe Belvil better body boys brought character child circumstances Clare comes common death delight Elinor expression eyes face fancy fear feel figure girl give hand hanging happy head hear heart Hogarth honour hope human humour images imagination judge kind known Lady Landlord least leave less living look manner Margaret master mean meet Melesinda mind moral nature never night object observed old lady once parents pass passion perhaps person picture play pleasure poet poor present reason respect Rosamund scene seems sense Shakspeare smile sometimes sort soul speak spirit stage suffer suppose sure sweet tell thing thought tion true turn Waiter whole woman wonder young
Page 234 - But man is a noble animal, splendid in ashes, and pompous in the grave, solemnizing nativities and deaths with equal lustre, nor omitting ceremonies of bravery in the infamy of his nature.
Page 122 - ... infirmities and weakness, the impotence of rage; while we read it, we see not Lear, but we are Lear, — we are in his mind, we are sustained by a grandeur which baffles the malice of daughters and storms; in the aberrations of his reason, we discover a mighty irregular power of reasoning, immethodized from the ordinary purposes of life, but exerting its powers, as the wind blows where it listeth, at will upon the corruptions and abuses of mankind.
Page 122 - A happy ending! — as if the living martyrdom that Lear had gone through, the flaying of his feelings alive, did not make a fair dismissal from the stage of life the only decorous thing for him.
Page 114 - ... between Hamlet and Ophelia there is a stock of supererogatory love (if I may venture to use the expression), which in any great grief of heart, especially where that which preys upon the mind cannot be communicated, confers a kind of indulgence upon the grieved party to express itself, even to its heart's dearest object, in the language of a temporary alienation...
Page 125 - What we see upon a stage is body and bodily action ; what we are conscious of in reading is almost exclusively the mind and its movements : and this, I think, may sufficiently account for the very different sort of delight with which the same play so often affects us in the reading and the seeing.
Page 159 - He would have made a great epic poet, if indeed he has not abundantly shown himself to be one ; for his Homer is not so properly a translation as the stories of Achilles and Ulysses re-written.
Page 116 - O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand...
Page 143 - Heywood is a sort of prose Shakspeare. His scenes are to the full as natural and affecting. But we miss the poet, that which in Shakspeare always appears out and above the surface of the nature.
Page 119 - The truth is, the Characters of Shakspeare are so much the objects of meditation rather than of interest or curiosity as to their actions, that while we are reading any of his great criminal characters, - Macbeth, Richard, even lago, - we think not so much of the crimes which they commit, as of the ambition, the aspiring spirit, the intellectual activity, which prompts them to overleap those moral fences.
Page 123 - ... living martyrdom that Lear had gone through — the flaying of his feelings alive, did not make a fair dismissal from the stage of life the only decorous thing for him. If he is to live and be happy after, if he could sustain this world's burden after, why all this pudder and preparation, why torment us with all this unnecessary sympathy ? As if the childish pleasure of getting his gilt robes and sceptre again could tempt him to act over again his misused station ; as if, at his years, and with...