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act of parliament adventures ages ancient appear Ariosto authority bishop BURNET canon laws character Chivalry church circumstances civil classic clergy constitution court crown Dialogue VII divine doubt ecclesiastical English entertained exercise Fairy Queen fancies favour feudal foreign travel further genius Gothic Gothic fictions hands hath Henry VII honour house of Stuart house of Tudor Iliad indulge ject king king's knights knowledge learning least Letter liberty LOCKE Lord Bacon LORD SHAFTESBURY Lordship mancers manners MAYNARD mean ment methinks mind moral nation nature neral observation occasion papal parliament passions perhaps person Philosopher poem poet politeness pope pope's prejudices prerogative pretence princes principles proper racter reason reformation regal reign Romance sense shew SOMERS sort Spenser spirit suppose supremacy Tasso taste thing tion Topaz truth usurped virtue young youth
Page 291 - Where throngs of knights and barons bold, In weeds of peace, high triumphs hold, With store of ladies, whose bright eyes Rain influence, and judge the prize Of wit or arms, while both contend To win her grace whom all commend.
Page 237 - The greatest geniuses of our own and foreign countries, such as Ariosto and Tasso in Italy, and Spenser and Milton in England, were seduced by these barbarities of their forefathers; were even charmed by the Gothic romances. Was this caprice and absurdity in them? Or may there not be something in the Gothic romance peculiarly suited to the views of a genius and to the ends of poetry?
Page 292 - The story of Cambuscan bold, Of Camball, and of Algarsife, And who had Canace to wife, That owned the virtuous ring and glass, And of the wondrous horse of brass On which the Tartar king did ride; And if aught else great bards beside In sage and solemn tunes have sung, Of turneys, and of trophies hung, Of forests, and enchantments drear, Where more is meant than meets the ear.
Page 316 - The fairest of her sex Angelica His daughter, sought by many pro.west knights, Both Paynim, and the peers of Charlemain.
Page 288 - And without more words you will readily apprehend that the fancies of our modern bards are not only more gallant, but, on a change of the scene, more sublime, more terrible, more alarming than those of the classic fablers. In a word, you will find that the manners they paint, and the superstitions they adopt, are the more poetical for being Gothic.
Page 267 - Cum bellum civitas aut illatum defendit aut infert, magistratus qui ei bello praesint, ut vitae necisque habeant potestatem deliguntur. In pace nullus est communis magistratus, sed principes regionum atque pagorum inter suos jus dicunt, controversiasque minuunt.
Page 295 - Queen then, as a Gothic poem, • derives its METHOD, as well as the other characters of its composition, from the established modes and ideas of Chivalry.
Page 287 - There was not a village in England that had not a ghost in it, the churchyards were all haunted, every large common had a circle of fairies belonging to it, and there was scarce a shepherd to be met with who had not seen a spirit.