The Mirror of Taste, and Dramatic Censor, Volum 11810 A drama is appended to each number of v. 1-2 |
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actor admiration Æschylus appeared applause Aristophanes Ashburton audience backsword Barry beauty Betterton Billy Taylor called celebrated character Colley Cibber comedy Cooper Covent Garden critic death delight doctor Johnson duke effect England Euripides excellent fame farce favour favourite feelings Garrick genius gentleman give Hamlet hand head heard heart Hodgkinson honour judgment Julius Cæsar Kemble kind labour lady lived Livius Andronicus Llanymynech London Macbeth Macklin manager Master Payne Menander ment merit mind moral multitude muse nature never night observed occasion opinion Othello Pacuvius passion performance person piece play players poet poetry possessed powers praise racter reader respect says scene seen Shakspeare song soon Sophocles speak spirit stage talents taste theatre thee Thespis thing thought tion tragedy truth virtue voice Voltaire whole words writer young youth
Populære avsnitt
Side 417 - O mighty Caesar ! dost thou lie so low ? Are all thy conquests, glories, triumphs, spoils, Shrunk to this little measure?
Side 390 - Why should a dog, a horse, a rat, have life, And thou no breath at all ? Thou'lt come no more. Never, never, never, never, never ! — Pray you undo this button : thank you, sir. — Do you see this? Look on her, — look, — her lips,— Look there, look there ! — [He dies.
Side 342 - ... twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.
Side 389 - Her voice was ever soft, Gentle, and low- an excellent thing in woman.
Side 389 - I'd use them so That heaven's vault should crack. — She's gone for ever. — I know when one is dead, and when one lives; She's dead as earth. — Lend me a looking-glass ; If that her breath will mist or stain the stone. Why, then she lives.
Side 81 - And the heart that is soonest awake to the flowers, Is always the first to be touched by the thorns.
Side 146 - Then, having show'd his wounds, he'd sit him down, And all the live-long day discourse of war. To help my fancy, in the smooth green turf He cut the figures of the marshal! 'd hosts ; Describ'd the motions, and explain'd the use Of the deep column, and the lengthen'd line, The square, the crescent, and the phalanx firm: For all that Saracen or Christian knew Of war's vast art, was to this hermit known.
Side 299 - A fixed figure for the time of scorn To point his slow unmoving finger at ! Yet could I bear that too ; well, very well : But there, where I have garner'd up my heart, Where either I must live, or bear no life...
Side 388 - A play in which the wicked prosper, and the virtuous miscarry, may doubtless be good, because it is a just representation of the common events of human life : but since all reasonable beings naturally love justice, I cannot easily be persuaded, that the observation of justice makes a play worse; or, that if other excellencies are equal, the audience will not always rise better pleased from the final triumph of persecuted virtue.
Side 132 - Pity it is that the momentary beauties, flowing from an harmonious elocution, cannot, like those of poetry, be their own record! — that the animated graces of the player can live no longer than the instant breath and motion that present them, or at best can but faintly glimmer through the memory or imperfect attestation of a few surviving spectators!