The Afternoon Lectures on English Literature Delivered in Dublin in May and June 1863
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action admiration againſt alſo appears attention ballad beauty becauſe bring called character characteriſtic claffical cloſe confider critics deep drama Dryden early effect England Engliſh example excellence fact faid fame fancy fays feeling fhall firſt flow follow fome foul French ftill fubject fuch genius German give hand heart himſelf hope human idea imagination influence inner intereſt Ireland Iriſh Italy itſelf John kind language learning lecture light literature live look manner mean mind moft moral moſt mufic muſt nature never obferved object original paffages paffed paffion perfons period play poems poet poetic poetry preſent produced remarkable rhyme romantic ſay ſchool ſeems Shakeſpeare ſhould ſhow ſome ſpirit ſuch theſe things thofe thoſe thought true truth turn uſe verſe whole wife writings
第83页 - LONDON, 1802. MILTON ! thou should'st be living at this hour : England hath need of thee : she is a fen Of stagnant waters : altar, sword, and pen, Fireside, the heroic wealth of hall and bower, Have forfeited their ancient English dower Of inward happiness. We are selfish men ; Oh ! raise us up, return to us again ; And give us manners, virtue, freedom, power.
第119页 - Heaven doth with us as we with torches do ; Not light them for themselves : for if our virtues Did not go forth of us, 'twere all alike As if we had them not...
第60页 - ... 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.
第61页 - If I would compare him with Shakespeare, I must acknowledge him the more correct poet, but Shakespeare the greater wit. Shakespeare was the Homer, or father of our dramatic poets; Jonson was the Virgil, the pattern of elaborate writing; I admire him, but I love Shakespeare.
第43页 - tis no matter; Honour pricks me on. Yea, but how if honour prick me off when I come on, how then ? Can honour set to a leg ? No. Or an arm ? No. Or take away the grief of a wound? No. Honour hath no skill in surgery then ? No. What is honour? A word. What is in that word, honour ? What is that honour ? Air. A trim reckoning ! — Who hath it ? He that died o
第26页 - There was a strong expression of sense and shrewdness in all his lineaments; the eye alone, I think, indicated the poetical character and temperament. It was large and of a dark cast, which glowed, I say literally glowed, when he spoke with feeling or interest.
第114页 - 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.
第115页 - Alas ! alas ! Why, all the souls that were, were forfeit once; And He that might the vantage best have took, Found out the remedy: how would you be, If He, which is the top of judgment, should But judge you as you are ? O, think on that ; And mercy then will breathe within your lips, Like man new made.
第96页 - Shakespeare among the English is the most excellent in both kinds for the stage. For comedy witness his Gentlemen of Verona, his Errors, his Love's Labour's Lost, his Love's Labour's Won,* his Midsummer Night's Dream, and his Merchant of Venice ; for tragedy, his Richard II, Richard III, Henry IV, King John, Titus Andronicus, and his Romeo and Juliet.
第72页 - Even on the fools that trampled on their laws. But he (his musical finesse was such, So nice his ear, so delicate his touch) Made poetry a mere mechanic art ; And every warbler has his tune by heart.