text,updated_at,metaphor,created_at,context,theme,reviewed_on,dictionary,comments,provenance,id,work_id
"THERE is not a Species of Writing which has not had its particular Admirer, and various Affirmations have been made concerning the Excellence of each. The famous Doctor South was of Opinion, that a complete Epigram is the Master-piece of Composition; and Mr. Addison calls a perfect Tragedy the noblest Production of Human Nature. The Truth of it is, each Person has delivered his Sentiments agreeably to his own private Temper, and his own peculiar Turn of Thinking. Doctor South excelled in lively and surprizing Strokes of Wit; every new Combination, which he formed in the vivacious Sallies of his Imagination, was Epigram in itself, and we find all his Writings sown extremely thick with unexpected Assemblages; and on this Account we may suppose him inclinable to extol his own favourite Talent. In like Manner, Mr. Addison had employed many of his Hours in planning his Tragedy of Cato, and after it had received the most consummate Polish, which his Skill could bestow upon it, it was to be exhibited as the greatest Production of human Wit. But the Assertions of great Men, when they are unsustained by Argument, are not to be considered as Decrees from which there can be no Appeal: Tragedy most certainly can only claim the second Place, because it is manifest, that all the Powers of Genius, viz. Imagination, Eloquence and Reason, may be exerted in their full Force in the Epic Composition, whereas in Tragedy they frequently suffer great Limitation. The same Thing, which on many Occasions makes Tragedy the most powerful Performance, serves also to divest it of those Advantages which give great Brilliancy to heroic Poesy, and that is, its coming immediately before the Eye. It is justly remarked by Horace, that what is conveyed to our Notice through our Ears, acts with a more feeble Impulse upon the Mind, than Objects that pass through the Organs of Sight, those faithful Evidences in a mental Court of Judicature.
Segnius irritant animos demissa per Aurem,
Quam quae sunt Oculis subjecta fidelibus, & quae
Ipse sibi tradit Spectator.
(II, pp. 262-3)",2013-11-11 01:43:33 UTC,"""It is justly remarked by Horace, that what is conveyed to our Notice through our Ears, acts with a more feeble Impulse upon the Mind, than Objects that pass through the Organs of Sight, those faithful Evidences in a mental Court of Judicature.""",2013-11-11 01:31:03 UTC,"","",,Court,USE IN ENTRY,Searching in ECCO-TCP,23166,7756
"These Advantages, however, are derived to the tragic Queen from supernumerary Embellishments, and from the Labours of another Art, I mean that of acting, which is in itself a Mode of Imitation, and serves to render the Touches of the Writer more striking, and more feelingly expressive. This Superiority the Drama certainly has over the Epic, and in Consequence of all its additional Aids, it can boast a more powerful Command over the human Heart. It imitates the very Voice of Nature, and speaks the same simple and affecting Language. All that Profusion of Figures, which mere Poetry admits, is discarded from the Stage. When I mention Figures, I must observe, that Men of critical Knowledge have justly distinguished between Figures of Speech, and Figures of the Sentiment; the former including Metaphor and all Translations of Phrases, and the latter consisting of such Breaks and Transitions in Discourse, as the Mind is known to make when under the Compunction of warring Passions. As for Instance, when the Poet says of Dido, that she is devoured by an inward Flame.
Et caeco carpitur igne.
He then expresses Love by a figurative Expression; but when he says,
Ignoscenda quidem, scirent si ignoscere manes.
The Repetition expresses the natural workings of the Mind, when other Ideas are awakened, and serve to excite a new Conflict of Passions. The use of these kind of Figures in Tragedy should be as free and bold as possible, and with Respect to Expression, no other Regard is to be paid to it, than to chuse such Words as may be most significantly picturesque, in order to have the more lively Effect on the Imagination, the Passions being then in a stronger Ferment when lively Images are presented to the Fancy.
(II, pp. 265-6)",2013-11-11 02:00:45 UTC,"""When I mention Figures, I must observe, that Men of critical Knowledge have justly distinguished between Figures of Speech, and Figures of the Sentiment; the former including Metaphor and all Translations of Phrases, and the latter consisting of such Breaks and Transitions in Discourse, as the Mind is known to make when under the Compunction of warring Passions.""",2013-11-11 01:58:09 UTC,"","",,"",META-METAPHORICAL,ECCO-TCP,23167,7756
"These Advantages, however, are derived to the tragic Queen from supernumerary Embellishments, and from the Labours of another Art, I mean that of acting, which is in itself a Mode of Imitation, and serves to render the Touches of the Writer more striking, and more feelingly expressive. This Superiority the Drama certainly has over the Epic, and in Consequence of all its additional Aids, it can boast a more powerful Command over the human Heart. It imitates the very Voice of Nature, and speaks the same simple and affecting Language. All that Profusion of Figures, which mere Poetry admits, is discarded from the Stage. When I mention Figures, I must observe, that Men of critical Knowledge have justly distinguished between Figures of Speech, and Figures of the Sentiment; the former including Metaphor and all Translations of Phrases, and the latter consisting of such Breaks and Transitions in Discourse, as the Mind is known to make when under the Compunction of warring Passions. As for Instance, when the Poet says of Dido, that she is devoured by an inward Flame.
Et caeco carpitur igne.
He then expresses Love by a figurative Expression; but when he says,
Ignoscenda quidem, scirent si ignoscere manes.
The Repetition expresses the natural workings of the Mind, when other Ideas are awakened, and serve to excite a new Conflict of Passions. The use of these kind of Figures in Tragedy should be as free and bold as possible, and with Respect to Expression, no other Regard is to be paid to it, than to chuse such Words as may be most significantly picturesque, in order to have the more lively Effect on the Imagination, the Passions being then in a stronger Ferment when lively Images are presented to the Fancy.
(II, pp. 265-6)",2013-11-11 01:59:04 UTC,"""As for Instance, when the Poet says of Dido, that she is devoured by an inward Flame.""",2013-11-11 01:59:04 UTC,"","",,"","",ECCO-TCP,23168,7756
"These Advantages, however, are derived to the tragic Queen from supernumerary Embellishments, and from the Labours of another Art, I mean that of acting, which is in itself a Mode of Imitation, and serves to render the Touches of the Writer more striking, and more feelingly expressive. This Superiority the Drama certainly has over the Epic, and in Consequence of all its additional Aids, it can boast a more powerful Command over the human Heart. It imitates the very Voice of Nature, and speaks the same simple and affecting Language. All that Profusion of Figures, which mere Poetry admits, is discarded from the Stage. When I mention Figures, I must observe, that Men of critical Knowledge have justly distinguished between Figures of Speech, and Figures of the Sentiment; the former including Metaphor and all Translations of Phrases, and the latter consisting of such Breaks and Transitions in Discourse, as the Mind is known to make when under the Compunction of warring Passions. As for Instance, when the Poet says of Dido, that she is devoured by an inward Flame.
Et caeco carpitur igne.
He then expresses Love by a figurative Expression; but when he says,
Ignoscenda quidem, scirent si ignoscere manes.
The Repetition expresses the natural workings of the Mind, when other Ideas are awakened, and serve to excite a new Conflict of Passions. The use of these kind of Figures in Tragedy should be as free and bold as possible, and with Respect to Expression, no other Regard is to be paid to it, than to chuse such Words as may be most significantly picturesque, in order to have the more lively Effect on the Imagination, the Passions being then in a stronger Ferment when lively Images are presented to the Fancy.
(II, pp. 265-6)",2013-11-11 02:00:22 UTC,"""The use of these kind of Figures in Tragedy should be as free and bold as possible, and with Respect to Expression, no other Regard is to be paid to it, than to chuse such Words as may be most significantly picturesque, in order to have the more lively Effect on the Imagination, the Passions being then in a stronger Ferment when lively Images are presented to the Fancy.""",2013-11-11 02:00:08 UTC,"","",,"",META-METAPHORICAL,ECCO-TCP,23169,7756
"MIRVAN.
Alas! those wounds must still lie bleeding here,
Untented by the hand of time--Not all
His lenient arts, his favours heap'd upon me,
Shall cool the burning anguish of my soul.
What he, that slew my father! dragg'd my sister,
Blooming in years, to his detested bed!
Yes, tyrant, yes;--thy unextinguish'd foe
Dwells in this bosom.--Surely then to me
Mandane may reveal her griefs--her wrongs
Will add new fuel to my hidden fires,
And make them burn more fiercely.--
(I, p. 4)",2013-11-18 04:43:34 UTC,"""Not all / His lenient arts, his favours heap'd upon me, / Shall cool the burning anguish of my soul.""",2013-11-18 04:43:34 UTC,Act I,"",,"","",Searching in LION,23236,7778
"MANDANE.
Urge no more--
My woes must rest conceal'd--yet should the tyrant
Learn from the captives of yon vanquish'd host,
That China's Orphan breathes the vital air,
And to himself unknown within his breast
Unconscious bears the gen'rous glowing flame
Of all the virtues of his royal line;
Oh! should they know that the dear youth survives,
That for his righteous cause this war began,
Their fury then would kindle to a blaze,
Might wrap the world in flames, and in the ruin
My blameless son might perish.
(I, p. 4)",2013-11-18 04:45:48 UTC,"""And to himself unknown within his breast / Unconscious bears the gen'rous glowing flame / Of all the virtues of his royal line.""",2013-11-18 04:45:48 UTC,Act I,"",,"","",Lion,23237,7778
"MIRVAN.
Seek not thus
To multiply the ills that hover round you;
Nor from the stores of busy fancy add
New shafts to fortune's quiver.--Zamti's care
Hath still deceiv'd suspicion's wakeful eye;
And o'er the mandarine his manners pure,
And sacred function have diffus'd an air
Of venerable awe, which e'en can teach
These northern foes to soften into men.
(I, pp. 4-5)",2013-11-18 04:46:57 UTC,"""Seek not thus / To multiply the ills that hover round you; / Nor from the stores of busy fancy add / New shafts to fortune's quiver.""",2013-11-18 04:46:57 UTC,Act I,"",,"","",Searching in LION,23238,7778
"MANDANE.
Yes, Mirvan, yes--Religion wears a mien
In Zamti's person so severely mild,
That the fierce Scythian rests upon his spear,
And wonders what he feels.--Such is the charm
Of heart-felt virtue; such is nature's force
That speaks abroad, and in rude northern hearts
Can stamp the image of an awful God.
From that source springs some hope:--Wretch that I am!
Hope idly flutters on my trembling tongue,
While melancholy brooding o'er her wrongs,
Lays waste the mind with horror and despair.
--What noise is that?--
(I, p. 5)",2013-11-18 04:48:25 UTC,"""Such is the charm / Of heart-felt virtue; such is nature's force / That speaks abroad, and in rude northern hearts / Can stamp the image of an awful God.""",2013-11-18 04:48:25 UTC,Act I,"",,Impressions,"",LION,23239,7778
"MANDANE.
Fatal day!
More fatal e'en than that, which first beheld
This race accurs'd within these palace walls,
Since hope, that balm of wretched minds, is now
Irrevocably lost.--
(I, p. 7)",2013-11-18 04:49:24 UTC,"""Fatal day! / More fatal e'en than that, which first beheld / This race accurs'd within these palace walls, / Since hope, that balm of wretched minds, is now / Irrevocably lost.""",2013-11-18 04:49:24 UTC,Act I,"",,"","",LION,23240,7778
"ZAMTI.
Lov'd Mandane,
I prithee leave me--but a moment leave me.--
Heed not the workings of a sickly fancy,
Wrought on by ev'ry popular report.
Thou know'st with Morat I convey'd the infant
Far as the eastern point of Corea's realm;
There where no human trace is seen, no sound
Assails the ear, save when the foaming surge
Breaks on the shelving beach, that there the youth
Might mock their busy search.--Then check thy fears--
Retire, my love, awhile; I'll come anon,--
And fortify thy soul with firm resolve,
Becoming Zamti's wife.--
(I, p. 10)",2013-11-18 04:51:24 UTC,"""Retire, my love, awhile; I'll come anon,-- / And fortify thy soul with firm resolve, / Becoming Zamti's wife.""",2013-11-18 04:51:24 UTC,Act I,"",,"","",LION,23241,7778