The works of the English poets. With prefaces, biographical and critical, by S. Johnson, Volume 21790 |
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Page 82
... Italy , and returned a little before the Restoration . He was chofen into the first parliament that was called , for Eaft Grinstead in Suffex , and foon became a favourite of Charles the Second ; but undertook no publick employment ...
... Italy , and returned a little before the Restoration . He was chofen into the first parliament that was called , for Eaft Grinstead in Suffex , and foon became a favourite of Charles the Second ; but undertook no publick employment ...
Page 118
... Italians , and thofe paftorals which Pope was then preparing to publifh . The kindneffes which are firft experienced are feldom forgotten . Pope always retained a grateful memory of Walsh's notice , and men- tioned him in one of his ...
... Italians , and thofe paftorals which Pope was then preparing to publifh . The kindneffes which are firft experienced are feldom forgotten . Pope always retained a grateful memory of Walsh's notice , and men- tioned him in one of his ...
Page 221
... in the hands of a few , who had gathered them partly from the Ancients , and partly from the Italians and French . The ftructure of dra- matick poems was then not generally under- ftood . Audiences matick DRY DEN . 221.
... in the hands of a few , who had gathered them partly from the Ancients , and partly from the Italians and French . The ftructure of dra- matick poems was then not generally under- ftood . Audiences matick DRY DEN . 221.
Page 284
... Italy ; of this , which , in defiance of criticism , continues Shakspeare the fovereign of the drama . His laft work was his Fables , in which he gave us the first example of a mode of writing which the Italians call refaccimento , a ...
... Italy ; of this , which , in defiance of criticism , continues Shakspeare the fovereign of the drama . His laft work was his Fables , in which he gave us the first example of a mode of writing which the Italians call refaccimento , a ...
Page 301
... Italy . Dryden sometimes puts the weak rhyme in the firft : Laugh , all the powers that favour tyranny , And all the standing army of the sky . Sometimes he concludes a period or para- graph with the first line of a couplet , which ...
... Italy . Dryden sometimes puts the weak rhyme in the firft : Laugh , all the powers that favour tyranny , And all the standing army of the sky . Sometimes he concludes a period or para- graph with the first line of a couplet , which ...
Common terms and phrases
againſt almoſt anſwer becauſe caufe cenfure Charles Dryden compofition confeffed confidered converfation criticiſm criticks defign defired diſcover dramatick Dryden duke Duke of Lerma eafily Earl elegant Engliſh excellence fafe faid fame fatire favour fays fecond feems feldom fenfe fent fentiments ferved fhall fhew fhould fince firft firſt fome fomething fometimes foon ftyle fubject fuch fuffer fupply fuppofed fure genius himſelf honour intereft itſelf John Dryden Juvenal King labour Lady laft laſt leaſt lefs Lord Lord Conway mind moft moſt muft muſt neceffary never numbers obferved occafion paffages paffions perfon perhaps play pleafing pleaſe pleaſure poem poet poetical poetry praife praiſe preface prefent profe publick publiſhed purpoſe racter raiſe reaſon reft reprefented rhyme ſays ſeems ſhall ſhould ſome Sophocles ſtudy ſuppoſed thefe themſelves theſe thing thofe thoſe thought tion tragedy tranflation Tyrannick Love uſe verfes verfion verſes Virgil Waller whofe whoſe writing written
Popular passages
Page 263 - From harmony, from heavenly harmony, This universal frame began : When Nature underneath a heap of jarring atoms lay, And could not heave her head, The tuneful voice was heard from high. Arise ye more than dead. Then cold and hot, and moist and dry, In order to their stations leap, And music's power obey. From harmony, from heavenly harmony, This universal frame began : From harmony to harmony Through all the compass of the notes it ran, The diapason closing full in man.
Page 232 - They have not the formality of a settled style, in which the first half of the sentence betrays the other. The clauses are never balanced, nor the periods modelled: every word seems to drop by chance, though it falls into its proper place. Nothing is cold or languid; the whole is airy, animated, and vigorous; what is little, is gay; what is great, is splendid.
Page 222 - To judge rightly of an author, we must transport ourselves to his time, and examine what were the wants of his contemporaries, and what were his means of supplying them.
Page 247 - Peace is not freed from labour, but from noise ; And war more force, but not more pains employs...
Page 284 - Works of imagination excel by their allurement and delight ; by their power of attracting and detaining the attention. That book is good in vain, which the reader throws away. He only is the master, who keeps the mind in pleasing captivity; whose pages are perused with eagerness, and in hope of new pleasure are perused again ; and whose conclusion is perceived with an eye of sorrow, such as the traveller casts upon departing day.
Page 251 - Which, flank'd with rocks, did close in covert lie ; And round about their murdering cannon lay, At once to threaten and invite the eye. Fiercer than cannon, and than rocks more hard, The English undertake th' unequal war : Seven ships alone, by which the port is barr'd, Besiege the Indies, and all Denmark dare.
Page 47 - There needs no more be said to extol the excellence and power of his wit, and pleasantness of his conversation, than that it was of magnitude enough to cover a world of very great faults; that is, so to cover them, that they were not taken notice of to his reproach, viz..
Page 222 - Learning once made popular is no longer learning ; it has the appearance of something which we have bestowed upon ourselves, as the dew appears to rise from the field which it refreshes.
Page 66 - The topics of devotion are few, and being few are universally known ; but, few as they are, they can be made no more ; they can receive no grace from novelty of sentiment, and very little from novelty of expression.
Page 68 - The ideas of Christian theology are too simple for eloquence, too sacred for fiction, and too majestic for ornament; to recommend them by tropes and figures, is to magnify by a concave mirror the sidereal hemisphere.