Timber, Or, Discoveries Made Upon Men and MatterGinn, 1892 - 166 pages |
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Page xix
... Latin classics are of course pervading ; and quotations from the writings of Petronius Arbiter , Varro , Aulus Gellius , Vitruvius , and the collections of Stobæus are sufficient to prove the range and the diver- sity of Jonson's ...
... Latin classics are of course pervading ; and quotations from the writings of Petronius Arbiter , Varro , Aulus Gellius , Vitruvius , and the collections of Stobæus are sufficient to prove the range and the diver- sity of Jonson's ...
Page xxii
... Latin influence as : " Creatures . . . that continually labor under their own misery and other's envy , " i.e. the envy which they feel towards others . ( 47 15 , and see 36 7 ) . Other instances of Latinism are , the variation between ...
... Latin influence as : " Creatures . . . that continually labor under their own misery and other's envy , " i.e. the envy which they feel towards others . ( 47 15 , and see 36 7 ) . Other instances of Latinism are , the variation between ...
Page xxiii
... Latin sense , as : opinion , reputation ( 63 ) , discipline , learning ( 73 ) , copy , abundance ( 26 32 ) , voice , remark , saying ( 37 17 ) , delicate , chosen ( 44 22 ) , election , selection ( 56 18 ) , translations , meta- phors ...
... Latin sense , as : opinion , reputation ( 63 ) , discipline , learning ( 73 ) , copy , abundance ( 26 32 ) , voice , remark , saying ( 37 17 ) , delicate , chosen ( 44 22 ) , election , selection ( 56 18 ) , translations , meta- phors ...
Page xxxv
... Latin poets , 80 30-81 26 . Parts of the drama , 81 29–83 13 . Its end to teach by moving , 81 29-33 . The mere causing of laughter unworthy , 81 33-83 13 . - A. Of the magnitude and compass of the fable , 83 14–87 19 . The fable ( uvos ) ...
... Latin poets , 80 30-81 26 . Parts of the drama , 81 29–83 13 . Its end to teach by moving , 81 29-33 . The mere causing of laughter unworthy , 81 33-83 13 . - A. Of the magnitude and compass of the fable , 83 14–87 19 . The fable ( uvos ) ...
Page 70
... Latin writers within 20 these last hundred years of my reading , and perhaps Seneca may be appeached of it ; I accuse him not . 25 2. Perspicuitas . - The next property of epistolary style is perspicuity , and is oftentimes [ lost ] by ...
... Latin writers within 20 these last hundred years of my reading , and perhaps Seneca may be appeached of it ; I accuse him not . 25 2. Perspicuitas . - The next property of epistolary style is perspicuity , and is oftentimes [ lost ] by ...
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Common terms and phrases
action Æneid affectation allusion ancient Aristophanes Aristotle Bacon Ben Jonson Cæsar called Chimæras Cicero Cloth comedy conceit contemporary Controv counsel Defense of Poesie delight Demaratus Discoveries doth dramatic Drummond elder Seneca Elizabethan eloquence English Ennius envy epigrams essay Euripides excellent expression fable favor feign folio reads fool Gram Greek hæc hath Hist Homer honor Horace ibid Iliad imitation Inst Introduction price invention Jonson judgment Julius Cæsar king labor language Latin laughter learning less letters Lord Magnetic Lady marginal note matter memory mind nature never opinion painting passage perfect person Plautus play Plutarch poem poet Poetica poetry praise prince prose quæ quam Quintilian references Roman says Sejanus Seneca sense seqq Shakespeare Silent Woman Sir Thomas Sophocles speak speech style Suetonius Swinburne Tacitus things tion translated truth verses vice Virgil virtue whole wise words writing ΙΟ
Popular passages
Page 23 - Sufflaminandus erat; as Augustus said of Haterius. His wit was in his own power: would the rule of it had been so too ! Many times he fell into those things could not escape laughter ; as when he said in the person of Caesar, one speaking to him: " Caesar, thou dost me wrong," he replied: " Caesar did never wrong but with just cause," and such like ; which were ridiculous.
Page 30 - His hearers could not cough or look aside from him without loss. He commanded where he spoke, and had his judges angry and pleased at his devotion. No man had their affections more in his power. The fear of every man that heard him was lest he should make an end.
Page 31 - My conceit of his person," says Ben Jonson very finely, " was never increased towards him by his place or honours ; but I have and do reverence him for the greatness that was only proper to himself; in that he seemed to me ever, by his work, one of the greatest men and most worthy of admiration, that had been in many ages. In his adversity I ever prayed that God would give him strength ; for greatness he could not want.
Page 23 - I remember the players have often mentioned it as an honour to Shakespeare, that in his writing (whatsoever he penned) he never blotted out a line. My answer hath been ' Would he had blotted a thousand !'; which they thought a malevolent speech.
Page 149 - By these, therefore, examples and reasons, I think it may be manifest that the poet, with that same hand of delight, doth draw the mind more effectually than any other art doth. And so a conclusion not unfitly...
Page 96 - But that which most doth take my Muse and me Is a pure cup of rich canary wine, Which is the Mermaid's now, but shall be mine; Of which had Horace or Anacreon tasted, Their lives, as do their lines, till now had lasted.
Page 111 - That low man seeks a little thing to do, Sees it and does it : This high man, with a great thing to pursue, Dies ere he knows it.
Page 147 - As you were going to a feast; Still to be powdered, still perfumed: Lady, it is to be presumed, Though art's hid causes are not found, All is not sweet, all is not sound. Give me a look, give me a face, That makes simplicity a grace; Robes loosely flowing, hair as free: Such sweet neglect more taketh me Than all the adulteries of art ; They strike mine eyes, but not my heart.
Page 23 - I loved the man, and do honour his memory, on this side idolatry, as much as any. He was (indeed) honest, and of an open and free nature...
Page 54 - In style, to consider what ought to be written, and after what manner, he must first think and excogitate his matter, then choose his words, and examine the weight of either. Then take care, in placing and ranking both matter and words, that the composition be comely; and to do this with diligence and often. No matter how slow the style be at first, so it be labored and accurate; seek the best, and be not glad of the forward conceits or first words that offer themselves to us, but judge of what we...