Edinburgh Dramatic Review, 第 7-9 卷

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James L. Huie., 1824
 

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第 35 頁 - The language of poetry naturally falls in with the language of power.
第 166 頁 - It was the lark, the herald of the morn, No nightingale ; look, love, what envious streaks Do lace the severing clouds in yonder east. Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops; I must be gone and live, or stay and die.
第 35 頁 - The one is a monopolising faculty, which seeks the greatest quantity of present excitement by inequality and disproportion ; the other is a distributive faculty, which seeks the greatest quantity of ultimate good, by justice and proportion. The one is an aristocratical, the other a republican faculty. The principle of poetry is a very anti-levelling principle. It aims at effect, it exists by contrast. It admits of no medium. It is every thing by excess.
第 76 頁 - Of human dealings : If I do prove her haggard, Though that her jesses were my dear heart-strings, I'd whistle her off, and let her down the wind, To prey at fortune.
第 79 頁 - There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet's imagination that the mind which once ventures within it is hurried irresistibly along.
第 35 頁 - The cause of the people is indeed but little calculated as a subject for poetry: it admits of rhetoric, which goes into argument and explanation, but it presents no immediate or distinct images to the mind, 'no jutting frieze, buttress, or coigne of vantage' for poetry 'to make its pendant bed and procreant cradle in'.
第 176 頁 - No, you unnatural hags, I will have such revenges on you both, That all the world shall — I will do such things — What they are yet I know not ; but they shall be The terrors of the earth.
第 79 頁 - The artful involutions of distinct interests, the striking oppositions of contrary characters, the sudden changes of fortune, and the quick succession of events, fill the mind with a perpetual tumult of indignation, pity, and hope. There is no scene which does not contribute to the aggravation...
第 53 頁 - There is no attempt to force an interest: everything is left for time and circumstances to unfold. The attention is excited without effort, the incidents succeed each other as matters of course, the characters think and speak and act just as they might do if left entirely to themselves. There is no set purpose, no straining at a point.
第 36 頁 - It puts the individual for the species, the one above the infinite many, might before right. A lion hunting a flock of sheep or a herd of wild asses is a more poetical object than...

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