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able Act III Act IV action affectation appear authour beauty believe better called cause changed character common considered continued copies corrupt criticism death dialogue discover drama easily easy edition editor elegance endeavoured English equally excellence exhibited expression eyes faults followed force give Henry hope human ignorance imagination incidents intended Italy Johnson kind King knowledge known labour language learned less lines manner meaning mention mind nature necessary never notes obscure observed once opinion original passage passions perform perhaps person play pleasure poet practice praise probably produce published reader reason remarks says SCENE Ü seems sense sentiment Shakespeare shew sometimes speak speech spirits stage story success suffered sufficient suppose things thou thought tion tragedy true truth virtue Warburton whole writers written young
Page 11 - Nothing can please many, and please long, but just representations of general nature. Particular manners can be known to few, and therefore few only can judge how nearly they are copied. The irregular combinations of fanciful invention may delight awhile, by that novelty of which the common satiety of life sends us all in quest; but the pleasures of sudden wonder are soon exhausted, and the mind can only repose on the stability of truth.
Page 28 - If there be any fallacy, it is not that we fancy the players, but that we fancy ourselves, unhappy for a moment ; but we rather lament the possibility than suppose the presence of misery, as a mother weeps over her babe when she remembers that death may take it from her. The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and treasons real they would please no more.
Page 14 - This therefore is the praise of Shakespeare, that his drama is the mirror of life ; that he who has mazed his imagination, in following the phantoms which other writers raise up before him, may here be cured of his delirious ecstasies, by reading human sentiments in human language ; by scenes from which a hermit may estimate the transactions of the world, and a confessor predict the progress of the passions.
Page 15 - Shakespeare's plays are not in the rigorous and critical sense either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublunary nature, which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination ; and expressing the course of the world, in which the loss of one is the gain of another; in which, at the same time, the reveller is hasting to his wine, and the mourner burying his friend...
Page 62 - To begin, then, with Shakespeare. He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul. All the images of Nature were still present to him, and he drew them, not laboriously, but luckily; when he describes any thing, you more than see it, you feel it too.
Page 13 - The theatre, when it is under any other direction, is peopled by such characters as were never seen, conversing in a language which was never heard, upon topics which will never arise in the commerce of mankind. But the dialogue of this author is often so evidently determined by the incident which produces it, and is pursued with so much ease and simplicity that it seems scarcely to claim the merit of fiction, but to have been gleaned by diligent selection out of common conversation, and common occurrences.
Page 11 - Shakespeare is above all writers, at least above all modern writers, the poet of Nature; the poet that holds up to his readers a faithful mirror of manners and of life.
Page 62 - ... 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. I cannot say he is everywhere alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid, his comic wit degenerating into clenches, his serious swelling into bombast But he is always great when some great...
Page 19 - The force of his comic scenes has suffered little diminution from the changes made by a century and a half, in manners or in words. As his personages act upon principles arising from genuine passion, very little modified by particular forms, their pleasures and vexations are communicable to all times and to all places ; they are natural, and therefore durable...