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according action admit answer antient appears applied Aristotle Aristotle's beautiful believe better called chapter character circumstances clear clearly comedy commentators common compared considered consistent criticism Dacier diction discovery distinct drama effect epic Euripides evidently example explained expression fable fault follows give given Greek Greek tragedy Homer idea imitation instance kind language least less manners means melody mentioned merely metaphor metre nature Note object observed original painting particular passage passions perhaps person plainly Plato pleasure poem poet poetic poetry present principles probably produced proper reader reading reason referred relation resemblance respect says sect seems sense single sometimes Sophocles sort sound speaking species speech sufficiently suppose term thing thought tion tragedy tragic translation true understand verse Victorius whole word writers γαρ δε εν και μεν
Page 27 - And ever against eating cares Lap me in soft Lydian airs Married to immortal verse, Such as the meeting soul may pierce In notes, with many a winding bout Of linked sweetness long drawn out, With wanton heed and giddy cunning, The melting voice through mazes running, Untwisting all the chains that tie The hidden soul of harmony; That Orpheus...
Page 28 - The noisy geese that gabbled o'er the pool, The playful children just let loose from school, The watch-dog's voice that bayed the whispering wind, And the loud laugh that spoke the vacant mind; These all in sweet confusion sought the shade, And filled each pause the nightingale had made.
Page 156 - TRAGEDY, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems ; therefore said by Aristotle to be of power, by raising pity, and fear, or terror, to purge the mind of those and such like passions, that is, to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated.
Page 143 - Which place we'll make bold with, to call it our Abydus, As the Bankside is our Sestos; and let it not be deny'd us.
Page 353 - It was in the power of Richardson alone to teach us at once esteem and detestation, to make virtuous resentment over-power all the benevolence which wit, elegance, and courage, naturally excite ; and to lose at last the hero in the villain.
Page 76 - For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse.
Page 28 - To th' instruments divine respondence meet; The silver sounding instruments did meet With the base murmur of the water's fall: The water's fall with difference discreet, Now soft, now loud, unto the wind did call: The gentle warbling wind low answered to all.
Page 337 - Angelo has more of the poetical inspiration; his ideas are vast and sublime; his people are a superior order of beings; there is nothing about them, nothing in the air of their actions or their attitudes, or the style and cast of their limbs or features, that reminds us of their belonging to our own species.