Elements of Criticism, Volume 3A. Miller, London; and A. Kincaid & J. Bell, Edinburgh, 1762 |
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Page 236
... pause at the end of every book , and the real pause at the end of every act , ought always to coincide with fome pause in the action . In this re- .1 spect , a dramatic or epic poem , ought to. unqualifies them for a lofty subject . The ...
... pause at the end of every book , and the real pause at the end of every act , ought always to coincide with fome pause in the action . In this re- .1 spect , a dramatic or epic poem , ought to. unqualifies them for a lofty subject . The ...
Page 237
... pauses : or it ought to resemble a piece of mufic , having a full close at the end , preceded by imper- fect closes that contribute to the melody . Every act therefore ought to close with fome incident that makes a pause in the action ...
... pauses : or it ought to resemble a piece of mufic , having a full close at the end , preceded by imper- fect closes that contribute to the melody . Every act therefore ought to close with fome incident that makes a pause in the action ...
Page 238
... pause at the end of the fifth book of the Æneid . There is no proper pause at end of the fe- venth book of Paradise Lost , nor at the end of the eleventh . Hitherto I have carried on together the epic and dramatic compositions .. I ...
... pause at the end of the fifth book of the Æneid . There is no proper pause at end of the fe- venth book of Paradise Lost , nor at the end of the eleventh . Hitherto I have carried on together the epic and dramatic compositions .. I ...
Page 271
... place of action ;. Thus the Grecian drama is a continued representation without any interruption ; a circumstance that merits attention . A con tinued representation without a pause , af fords after Ch . XXIII . THE THREE UNITIES . 271.
... place of action ;. Thus the Grecian drama is a continued representation without any interruption ; a circumstance that merits attention . A con tinued representation without a pause , af fords after Ch . XXIII . THE THREE UNITIES . 271.
Page 281
... pause even in the principal ac tion , fo far from an advantage , would be really an imperfection ; and that a reprefen- tation with proper pauses , is better calcu- lated for moving the audience , and making the strongest impreffions ...
... pause even in the principal ac tion , fo far from an advantage , would be really an imperfection ; and that a reprefen- tation with proper pauses , is better calcu- lated for moving the audience , and making the strongest impreffions ...
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Common terms and phrases
abſtract action Æneid agreeable alſo appears artiſt beauty becauſe beſt betwixt cauſe chap circumſtance cloſe compariſon compoſition confidered courſe deſcribed deſcription diftinguiſhed diſagreeable diſpoſed effect emotions employ'd epic epic poetry expreffion expreſſed expreſſion fame figure of ſpeech fimile firſt fome fuch garden hath houſe Iliad imagination impreffion impreſſion inſtances itſelf ject laſt leſs metaphor mind moſt muſt nature neceſſary obfcure objects obſerved occafion ornament paffion Paradise Lost paſſage paſſion pauſe perſon perſonification pleaſe pleaſure poem preſent principle proper proportion purpoſe raiſed reaſon regularity reliſhed repreſentation repreſented reſemblance reſpect Richard II ſame ſay ſcarce ſcene ſecond ſeen ſenſe ſenſible ſeparately ſeveral ſhall ſhore ſhort ſhould ſhow ſingle ſmall ſome ſpeaking ſpecies ſpectator ſtage ſtandard ſtate ſtep ſtill ſtory ſtrike ſtudied ſubject ſuch ſuggeſts ſuppoſe ſweet ſwells taſte theſe thing thoſe thou tion tragedy uſe whoſe words
Popular passages
Page 178 - Your infants in your arms, and there have sat The livelong day, with patient expectation, To see great POmpey pass the streets of Rome...
Page 15 - Like night, and darken'd all the land of Nile: So numberless were those bad Angels seen Hovering on wing under the cope of Hell, Twixt upper, nether, and surrounding fires...
Page 211 - I'll give my jewels for a set of beads, My gorgeous palace for a hermitage, My gay apparel for an almsman's gown, My...
Page 67 - O gentle sleep, Nature's soft nurse, how have I frighted thee, That thou no more wilt weigh my eyelids down, And steep my senses in forgetfulness...
Page 12 - And thus still doing, thus he pass'd along. Duch. Alas ! poor Richard ! where rides he the while ? York. As in a theatre, the eyes of men, After a well-graced actor leaves the stage, Are idly bent on him that enters next, Thinking his prattle to be tedious : Even so, or with much more contempt, men's eyes Did scowl on Richard ; no man cried, God save him...
Page 17 - Looks through the horizontal misty air Shorn of his beams, or from behind the moon, In dim eclipse, disastrous twilight sheds On half the nations, and with fear of change Perplexes monarchs.
Page 199 - Should I turn upon the true prince ? Why, thou knowest, I am as valiant as Hercules: but beware instinct; the lion will not touch the true prince. Instinct is a great matter ; I was a coward on instinct.
Page 18 - And higher than that wall a circling row Of goodliest trees, loaden with fairest fruit, Blossoms and fruits at once...
Page 62 - First in his east the glorious lamp was seen, Regent of day, and all th' horizon round Invested with bright rays, jocund to run His longitude through heav'n's high road; the gray Dawn and the Pleiades before him danc'd, Shedding sweet influence...
Page 55 - O, pardon me, thou bleeding piece of earth, That I am meek and gentle with these butchers; Thou art the ruins of the noblest man That ever lived in the tide of times.