The Round Table. Northcote's Conversations. CharacteristicsWilliam Hazlitt, William Carew Hazlitt Bell & Daldy, 1871 - 568 من الصفحات |
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الصفحة 36
... figures of the young nobleman , his intended bride , and her in- amorato the lawyer , show how much Hogarth excelled in ... figure and attitude of the bride courted by the lawyer . There is the utmost flexibility and yielding softness in ...
... figures of the young nobleman , his intended bride , and her in- amorato the lawyer , show how much Hogarth excelled in ... figure and attitude of the bride courted by the lawyer . There is the utmost flexibility and yielding softness in ...
الصفحة 37
... figure , face , and attitude of the husband are inimitable . Hogarth has with great skill contrasted the pale countenance of the husband with the yellow - whitish colour of the marble chimney- piece behind him in such a manner as to ...
... figure , face , and attitude of the husband are inimitable . Hogarth has with great skill contrasted the pale countenance of the husband with the yellow - whitish colour of the marble chimney- piece behind him in such a manner as to ...
الصفحة 38
... figure , which seems to have no other feeling but a sickly sense of pain - show the deepest insight into human nature , and into the effects of those refinements in depravity by which it has been goodnaturedly asserted that “ vice loses ...
... figure , which seems to have no other feeling but a sickly sense of pain - show the deepest insight into human nature , and into the effects of those refinements in depravity by which it has been goodnaturedly asserted that “ vice loses ...
الصفحة 39
... figures they make for children . The characters in the last picture , in which the wife dies , are all masterly . We would particularly refer to the captious , petulant self- sufficiency of the apothecary , whose face and figure are ...
... figures they make for children . The characters in the last picture , in which the wife dies , are all masterly . We would particularly refer to the captious , petulant self- sufficiency of the apothecary , whose face and figure are ...
الصفحة 41
... figures are not like the background on which they are painted : even the pictures on the wall have a peculiar look of their own . Again , with the rapidity , variety , and scope of history , Hogarth's heads have all the reality and ...
... figures are not like the background on which they are painted : even the pictures on the wall have a peculiar look of their own . Again , with the rapidity , variety , and scope of history , Hogarth's heads have all the reality and ...
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actor admiration affectation answer appearance artist asked beauty Beggar's Opera better character colour common contempt conversation Correggio delight Edition Engravings equal everything excellence excite expression eyes fame fancy favour favourite feeling genius give grace greatest habit Hogarth human Iago idea imagination indifference instance interest Julius Cæsar King lady living look Lord Lord Byron mankind manner Milton mind moral nature never Northcote object once opinion ourselves P. L. SIMMONDS painted painter Paradise Lost passion perfect persons picture pleasure poet poetry portrait prejudices pretensions Prince Hoare racter Raphael reason refinement remarked Rembrandt respect seems seen sense Shakspeare Sir Joshua Sir Walter Scott spirit superiority sympathy taste Tatler things thought tion Titian Tom Jones Translated truth vanity vice virtue vols Voltaire vulgar whole WILLIAM HAZLITT wish wonder writer
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الصفحة 9 - tis no matter; Honour pricks me on. Yea, but how if honour prick me off when I come on, how then ? Can honour set to a leg ? No. Or an arm ? No. Or take away the grief of a wound? No. Honour hath no skill in surgery then ? No. What is honour? A word. What is in that word, honour ? What is that honour ? Air. A trim reckoning ! — Who hath it ? He that died o
الصفحة 50 - Namancos and Bayona's hold ; Look homeward, Angel, now, and melt with ruth ! And, O ye dolphins, waft the hapless youth...
الصفحة 157 - O unexpected stroke, worse than of Death! Must I thus leave thee$ Paradise? thus leave Thee, native soil! these happy walks and shades, Fit haunt of Gods? where I had hope to spend, Quiet though sad, the respite of that day That must be mortal to us both.
الصفحة 169 - Of splendour in the grass, of glory in the flower ; We will grieve not, rather find Strength in what remains behind, In the primal sympathy Which having been must ever be, In the...
الصفحة 152 - Two of far nobler shape erect and tall, Godlike erect, with native honour clad In naked majesty seemed lords of all, And worthy seemed, for in their looks divine The image of their glorious Maker shone, Truth, wisdom, sanctitude severe and pure, Severe, but in true filial freedom placed; Whence true authority in men...
الصفحة 47 - Last came, and last did go The Pilot of the Galilean lake; Two massy keys he bore of metals twain...
الصفحة 153 - Pure as the expanse of Heaven: I thither went, With unexperienced thought, and laid me down On the green bank, to look into the clear Smooth lake, that to me seem'd another sky. As I bent down to look, just opposite A shape within the watery gleam appear'd, Bending to look on me; I started back: It started back: but pleased I soon return'd; Pleas'd it return'd as soon, with answering looks Of sympathy and love...
الصفحة 134 - Fame is the spur that the clear spirit doth raise (That last infirmity of Noble mind) To scorn delights, and live laborious days...
الصفحة 34 - O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand.