An Essay on the Writings and Genius of Shakespear: Compared with the Greek and French Dramatic Poets; with Some Remarks Upon the Misrepresentations of Mons. de VoltaireThis historic book may have numerous typos, missing text or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1810. Not illustrated. Excerpt: ... UPON THE DEATH or JULIUS CiESAR; THE Tragedies of Cinna, and Julius Caesar, are each of them the representation of a conspiracy ; but it cannot be denied that our countryman has been by far more judicious in his choice of the story. An abortive scheme, in which some people of obscure fame were engaged, and even in whom, as they are represented, the enterprise was pardoned, more from contempt of their abilities and power, than the clemency of the emperor, makes a poor figure in contrast with that conspiracy, which, formed by the first characters in Rome, effected the destruction of the greatest man the world ever produced, and was succeeded by the most memorable consequences. History furnishes various examples of men of base and treacherous natures, of dissolute manners, ruined fortunes, and lost reputations, uniting in horrid association to destroy their prince. Ambition Ambition often cuts itself a bloody way to greatness.--Exasperated misery sometimes plunges its desperate dagger in the breast of the oppressor. The cabal of a court, the mutiny of a camp, the wild zeal of fanatics, have too frequently produced events of that nature. But this conspiracy was formed of very different elements. It was the genius of Rome, the rights of her constitution, the spirit of her laws, that rose against the ambition of Caesar; they steeled the heart, and whetted the dagger of the mild, the virtuous, the gentle Brutus, to give the mortal wound, not to a tyrant, who had fastened fetters on his fellow-citizens, but to the conqueror, who had made almost the whole world wear their chains; and who was then preparing to subdue the only empire that remained unsubjected to them. Can there be a subject more worthy of the Tragic Muse, than an action so important in its consequences, an.... |
From inside the book
Results 1-3 of 14
Page 197
... reason may expel the fuperftitions of the nursery , the imagination does not so entirely free itself from their dominion , as not to re - admit them , if occafion prefents them , in the very shape in which they were once revered . The ...
... reason may expel the fuperftitions of the nursery , the imagination does not so entirely free itself from their dominion , as not to re - admit them , if occafion prefents them , in the very shape in which they were once revered . The ...
Page 202
... reason , so no one ever so happily caught its varying forms in the wanderings of delirium . The scene in which Macduff is informed of the murder of his wife and children , is fo celebrated , that it is not neceffary to enlarge upon its ...
... reason , so no one ever so happily caught its varying forms in the wanderings of delirium . The scene in which Macduff is informed of the murder of his wife and children , is fo celebrated , that it is not neceffary to enlarge upon its ...
Page 288
... reason to fear a greater number of excellen- cies have escaped my difcernment , than I have fuffered faults to pass without my ani- madverfion : but I hope this weak attempt to vindicate our great dramatic poet , will excite fome critic ...
... reason to fear a greater number of excellen- cies have escaped my difcernment , than I have fuffered faults to pass without my ani- madverfion : but I hope this weak attempt to vindicate our great dramatic poet , will excite fome critic ...
Other editions - View all
Common terms and phrases
abfurd addrefs admired affaffin affume againſt allegory anſwer ANTONY appears Auguftus baſe beſt blood Brutus Cæfar Caffius cauſe character Cinna circumſtances compofitions confpiracy Corneille critic criticiſm dæmons defire drama Edmond Malone ELPINICE Emilia Engliſh eſtabliſhed Euripides expreffed fable fame fays fecret feems fentiments fhew firſt folemn foliloquy fome foul French ftage fubject fublime fuch fuperftition fuperiority furely genius ghoſt hath heart heav'n hero himſelf hiſtory honour human imitation intereſt itſelf Joseph Ritson juft juſt king lefs Macbeth manners maſter mind moſt muſt myſelf nature neceffary obfervations occafion paffion perfons philofophers piece play pleaſe pleaſure poet poetry preſent purpoſes racter raiſed reaſon repreſentation repreſented reſpect Roman ſay ſcene ſeems Shakeſpear ſhall ſhe ſhould ſome Sophocles ſpeak ſpectator ſpeech ſpirit ſtage ſtate ſtill ſtory ſuch ſuppoſe Tacitus taſte thee thefe theſe thoſe thou tion tragedy tranflator underſtand uſe Voltaire whofe whoſe William Henry Ireland