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acting actor admirable Aikin appear audience Avriana Bing Brahmin Brough Burning Forest Calcraft Calebonian Theatre Caledonian Captain CATARACT character Charles Kemble Cherry and Fair comedy Coriolanus DAILY BY J. L. Demetrius Denham desert drama Drury Lane Duff Edinburgh excellent Farce Faulkner feeling gentleman George Heriot Guardian Fiends Hassanbad Hillyard Iago INFIRMARY ST INFIRMARY STREET J. L. HUIE Jack Robinson Jones Kemble King of Cyprus Lacy Lady last night LEITH Lord Lynch M*Gregor Mackay Mackay's Manager Mason Melo-Dramatic Messrs Miller Miss Eyre Miss H Miss Halford Miss Murray Miss Nicol Miss Rae Mokarrah Murray's never NOTICES TO CORRESPONDENTS º º opinion performed piece play Players well bestowed Power Prince Cherry's Pritchard PUBLISHED DAILY Quintus Fabius Vibulanus racter RAJAH's DAUGHTER remarks Renaud Sanguinbeck scene Servant to Mordaunt Shakspeare Siddons Smith spirit Stanley talent Theatre Royal Theatre-Royal THEATRICAL INTELLIGENCE Topac tragedy Vandenhoff Virginius Wynn Young
Página 35 - The language of poetry naturally falls in with the language of power.
Página 166 - It was the lark, the herald of the morn, No nightingale ; look, love, what envious streaks Do lace the severing clouds in yonder east. Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops; I must be gone and live, or stay and die.
Página 35 - The one is a monopolising faculty, which seeks the greatest quantity of present excitement by inequality and disproportion ; the other is a distributive faculty, which seeks the greatest quantity of ultimate good, by justice and proportion. The one is an aristocratical, the other a republican faculty. The principle of poetry is a very anti-levelling principle. It aims at effect, it exists by contrast. It admits of no medium. It is every thing by excess.
Página 76 - Of human dealings : If I do prove her haggard, Though that her jesses were my dear heart-strings, I'd whistle her off, and let her down the wind, To prey at fortune.
Página 79 - There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet's imagination that the mind which once ventures within it is hurried irresistibly along.
Página 35 - The cause of the people is indeed but little calculated as a subject for poetry: it admits of rhetoric, which goes into argument and explanation, but it presents no immediate or distinct images to the mind, 'no jutting frieze, buttress, or coigne of vantage' for poetry 'to make its pendant bed and procreant cradle in'.
Página 176 - No, you unnatural hags, I will have such revenges on you both, That all the world shall — I will do such things — What they are yet I know not ; but they shall be The terrors of the earth.
Página 79 - The artful involutions of distinct interests, the striking oppositions of contrary characters, the sudden changes of fortune, and the quick succession of events, fill the mind with a perpetual tumult of indignation, pity, and hope. There is no scene which does not contribute to the aggravation...
Página 53 - There is no attempt to force an interest: everything is left for time and circumstances to unfold. The attention is excited without effort, the incidents succeed each other as matters of course, the characters think and speak and act just as they might do if left entirely to themselves. There is no set purpose, no straining at a point.