The Album, Bind 3J. Andrews., 1823 |
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Side 3
... first Edipus of Sophocles displays a far greater skill in dramatic contrivance , than many of the most approved tragedies of later times . We must be understood to speak of the artificial character B 2 ON ANCIENT AND MODERN TRAGEDY . 3.
... first Edipus of Sophocles displays a far greater skill in dramatic contrivance , than many of the most approved tragedies of later times . We must be understood to speak of the artificial character B 2 ON ANCIENT AND MODERN TRAGEDY . 3.
Side 4
We must be understood to speak of the artificial character of the Greek drama , simply in relation to the age of the composition . We are by no means disposed to consider this as its leading feature , or to undervalue the great and more ...
We must be understood to speak of the artificial character of the Greek drama , simply in relation to the age of the composition . We are by no means disposed to consider this as its leading feature , or to undervalue the great and more ...
Side 12
... speak of na- ture , in beings professedly distinct from the ordinary ten- ants of the world , but the super - human creatures of Shak- speare's imagination seem to us natural , from their par- taking of that peculiar character , and ...
... speak of na- ture , in beings professedly distinct from the ordinary ten- ants of the world , but the super - human creatures of Shak- speare's imagination seem to us natural , from their par- taking of that peculiar character , and ...
Side 13
... speak all the recollections and feelings that rise upon us at this moment . An actor , more than any other artist , is known to the public ; continually before them in person , they learn to feel almost personal love for him who so ...
... speak all the recollections and feelings that rise upon us at this moment . An actor , more than any other artist , is known to the public ; continually before them in person , they learn to feel almost personal love for him who so ...
Side 17
... speak in an inflated and stilted style , such as no human being ever used on any possible occasion . The nearer the approach to nature , the more powerful is the representation , and nature is wholly incompatible with the ornaments of ...
... speak in an inflated and stilted style , such as no human being ever used on any possible occasion . The nearer the approach to nature , the more powerful is the representation , and nature is wholly incompatible with the ornaments of ...
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Adam Blair admirable 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 Trophonius truth turn voice whilst whole words writing young