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Aaron Hill Academy admiration appeared assertion attack barbarous beautiful believe blank verse brought Brutus Catiline censure century character Corneille and Racine correspondence countrymen criticism D'Alembert D'Argental drama dramatic art England English dramatist English stage Eriphyle Essay exhibited existence expressed eyes fact faithful Falstaff fault favor feelings felt Ferney followed France French stage Frenchmen Garrick gave genius give Gorboduc Hamlet Harpe Henriade ignorance imitation impression instance interest Julius Caesar Kames king knowledge language later Letter literary literature Lope de Vega Macbeth Madame du Deffand matter merits Montagu nation nature never opinion original Othello Paris passages piece play poet poetry preface produced prose regard remarks rendered reply ridiculous scenes Shake Shakespeare Sophocles sort speare speech spoke success superiority taste theatre things tion took Tourneur tragedy translation treatise truth unities utterance views Voltaire Voltaire's Walpole words writer wrote Zaire
Page 403 - When the hand of time shall have brushed off his present Editors and Commentators, and when the very name of Voltaire, and even the memory of the language in which he has written, shall be no more, the Apalachian mountains, the banks of the Ohio, and the plains of...
Page 292 - Shakespeare, a book of which, strange as it may seem, though I must have read it formerly, I had absolutely forgot the existence. The learning, the good sense, the sound judgment, and the wit displayed in it, fully justify not only my compliment, but all compliments that either have been already paid to her talents, or shall be paid hereafter.
Page 137 - ... and comical expressions, to murthers, to a lively representation of bloody deeds to a kind of horrour which seems often barbarous and childish, all faults which never sullyd the greak, the roman or the french stage.
Page 292 - DC paid hereafter. Voltaire, I doubt not, rejoiced that his antagonist wrote in English, and that his countrymen could not possibly be judges of the dispute. Could they have known how much she was in the right, and by how many thousand miles the bard of Avon is superior to all their dramatists, tho French critic would have lost half his fame among them.
Page 138 - tis true we have too much of words, if you have too much of action, and perhaps the perfection of the Art should consist in a due mixture of the french taste and english energy.
Page 144 - ... to kill a rat, and the heroine throws herself into the river. They dig her grave on the stage ; the grave-diggers...
Page 51 - I perceived that the English were right, and that it is impossible for a whole nation to be deceived in a matter of sentiment, and to be wrong in being pleased. They saw, as I did, the gross faults of their favorite author, but they felt better than I his beauties, all the more remarkable because they are lightning flashes which have sent forth their gleams in profoundest night."* * Ixmnsbury, T.
Page 9 - Our old dramatic poet* may witness for our good ear and manly relish. Notwithstanding his natural rudeness, his unpolished style, his antiquated phrase and wit, his want of method and coherence, and his deficiency in almost all the graces and ornaments of this kind of writings ; yet by the justness of his moral, the aptness of many of his descriptions, and the plain and natural turn of several of his characters, he pleases his audience, and often gains their ear, without a single bribe from luxury...
Page 287 - Foolish coxcomb ! Rules can no more make a poet than receipts a cook. There must be taste, there must be skill. Oh ! that we were as sure our fleets and armies could drive the French out of America as that our poets and tragedians can drive them out of Parnassus ! " The unhappy marriage of this clever and sympathetic sister, to whom Mrs.
Page 52 - ... exerted in behalf of classical standards. In 1726, he began a residence of almost three years in England which brought him into contact with English drama. Cato he regarded as a masterpiece of classical tragedy. Yet, like Addison, he confessed, once, at least, that creative energy such as Shakespeare's "leaves far behind it everything which can boast only of reason and correctness.