 ... they might do if left entirely to themselves. There is no set purpose, no straining at a point. The observations are suggested by the passing scene — the gusts of passion come and go like sounds of music borne on the wind.  The Meteor; or, General censor - Página 21817Visualização completa - Sobre este livro
 | William Hazlitt - 1817 - 392 páginas
...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. The observations are suggested by the passing scene—the gusts of passion come and go like sounds of music borne on the wind. The whole play is... | |
 | William Hazlitt - 1818 - 282 páginas
...air, Choose a firm cloud before it fall, and in it Catch, 'ere she change, the Cynthia of a minute.1 Such nearly is the task which the actor imposes on...action, but on the thoughts — on " that within which passeth show." Yet, in spite of these difficulties, Mr. Kean's representation of the character had... | |
 | William Hazlitt - 1818 - 328 páginas
...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....passing scene — the gusts of passion come and go like sounds of musick borne on the wind. The whole play is an exact transcript of what might b« supposed... | |
 | William Hazlitt - 1818 - 342 páginas
...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....passing scene — the gusts of passion come and go like sounds of musick borne on the -wind. The whole pl,iy is an exact transcript of what might be supposed... | |
 | William Hazlitt - 1818 - 552 páginas
...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....by the passing scene — the gusts of passion come arid go like sounds of music borne on the wind. The whole play is an exact transcript of what might... | |
 | 1818 - 784 páginas
...and speak and act just as they might do, if left entirely to themselves. There is no set pur pose, no straining at a point. The observations are suggested by the passing scene—the gusts of passion come and go like sounds of music borne on the wind. The whole pliiy is... | |
 | 1820 - 474 páginas
...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....are suggested by the passing scene — the gusts of passions come and go like sounds of music borne on the wind. The whole play i» an R THE ChARACTF.il... | |
 | William Hazlitt - 1838 - 360 páginas
...shadow. " Come then, the colours and the ground prepare, Dip in the rainbow, trick her off in air ! Chose a firm cloud, before it falls, and in it Catch, ere...interest depends not on the action, but on the thoughts. THE TEMPEST. THERE can be little doubt that Shakspeare was the most universal genius that ever lived.... | |
 | Lord Francis Jeffrey Jeffrey - 1844 - 540 páginas
...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....passing scene — the gusts of passion come and go like sounds of music borne on the wind. The whole play is an exact transcript of what might be supposed... | |
 | 1846 - 602 páginas
...the artless sinkings and soarings, lingerings and hurryings of David's matchless minstrelsies, which come and go like the sounds of music borne on the wind. Profound insight is not peculiarly Montgomery's forte. He is rather a seraph than a cherub ; rather... | |
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