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S &de ^^^ "ISf& ^^^ i&t ^^ W ^^ d have stirre ^ in ^ u . . ¦^*«**«« fcw » Hifcll ^* 90 i ^ iShmAd& toc km ** ekeftediebt&usiftsmv "A repubKcatfon of theilnft ^ iM ^ for Jfefcicooi and enjoyed the literary wairfiH ^ igTr ^ fittaiti cdultL be . cftUed , -u : « i » * t ^« »„ ti , n «« rKf . uimir&bleeaetiet by ' thoSe w * d ^ ttctf renumber ; the
, sl > mSS& £ x ; jl ^ fe ^^ *« # ' * ^ r ^ lmihrtw ^ ty « r ^ T « i ^ fiae (» ww ago ^ ouid baT » prodncedla senstftioa ** m > ihg uVReyfew - ersVaW ' i ^ th ^ task / of eagdr . crifac ^ sm . IJW ^ V ^ Old Dramatists , butmore extensive and . aatisfiictory ., since -ib ^ Ve * "wHfcIfc > se «^ 3 4 S'Welt ^ % etJferkte ^ asteage " ? ; - R fe -addihefi ^ Bd' t& 4 wo ^ e ^? ffi ^ ti&n ^ £ ^^ ^ eWpr ^ «^ ; M ^ of ^? aamu ^ ble % S ^ ^^^ lori ^ f ^^ cilted were it not exclude * by : their afotoutf indelwMW ^ : ^ l « aG ^' Hinrr tw with -jealous Lcaro removed every jr . ^^ ^ JiafLi > ii £ _ jia ? 2 in « JLi . tuwwi ?* i " -kifcrf . «'' ntVrf" frfvfrri iirilv ' siicb extracts as ; maV ¦
-passage w irwu , « ¥ l i" "" n"V T ^^ " ' j * vf i' v " - > s ' i ;¦¦•¦ - - ¦>"• : ¦ ¦"¦ ¦ . .. . ¦ - « ¦ i - "¦ ¦• ' . " ^ i 0 : m ^ : m ^^^ ' ^^^^^^ f ^^^^ " xou ^ -wbose members , however sefcaitHre ^ to the beaatie ^ of poetry v ihaye * ot JbiMfcHSe uo » &ejBpati € aiceB ; toiiinde » take tfceentire works . of BfcAiiaiONT-and i ^ TCHBB . ^ Forefetfta elasses . ^ he bW- skiifuUjr catered : The-supreme && ** && bf-fiis r ^ e ^ w ^ kno ^ h in ^ he Va * addetl , suc £ ntotes , critical , ^ P ^^^ feiSf ^ ^ ° «» P # $ S&Niii * & ^ - woja *«© ofeomy oasp ; * ww <* wuwo
y ^ gga&ibfiafeA&jyiyi ^ w ^ # g « . *« * «»« ^ iwo clnBaeijJustlrcmxed , ifc : would . have ; found aibantt o £ indent " proselytes ii ^ i ^ T ^ t lMttaii ^ aftimatyw ^ Tv ^^ w ^^ Ketfaofng itieir ritrnOSt to revive ; lfe # u ^ & # teteairei ^ % ^ t ^^ P ^ Wlci * b at the Old Dramatists 4 rere . erart . nar the greatest £ dramatics , i ^ trying , ; w iih £$$ , # ^ 4 ? , * -l J 3 £ * ej 58 a | tfititrf * h / e J ^ za ^ tb a ^ scbopl iTTaa jC Q ^ inuftllyJailing on ilwoa ^ i ^ Mie ^/ nfqAocf «^ » aa ^ ' ^ lte xeBurrection of-tbe ' iEaglifch Poetic . Drama i ^^ W ^ ttte ^ oiritiiof ^ akkft * ' rila ^ tfirouMr tMe e ^ ortS 56 f Saii-rii . ft is
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ll ) X ^ R ^ - > ^ TF ^^ J ^ ^^ nP ^^ ^ rA : 9 , 9 . oVa ; . tUqy bayQ n ^ re cfiimc » 4 ntloV 8 , ^ ftl . ftn ^ iifa lbquK . l ^ ^ eatiwrMOniftnytftwbje ^ t f if , ¦ they have leairf I ^ ayic ]( : j [ qalr 99 n « € i ofithaineedfliof « . pubHcn , A bntlGorrrtah book ia terrible ; a / good book M ' dtertatn to ^ bo voi * y goo *[ L ' -J . Bi 'MbTtbr has just , pubHabod tt Wttrk on' 'AiwrttUfiftBj dtfWiiaeHn ^ tdth ' ns 1 a ' Utfoftfofst \ AMittotelrJ Tfj ^ kunctc ); ifliicK'tdone ofWo& ' fi&tifhb ixhausjtivjj book ' s ' / nejt' ^ wiit ^ onl y ' jln ^ eri pftn : ' Ifjt ^ aiure . ; In ijtj ' beesta ^ ljah ^ ^^ a ^' as ^ actuuji ^ nowladgo . of Ani ^ o ^ i-B - ^ Wb ^ flnjmi Us ftf » 4 claeseft he kpew . j from actual inspection * , and what fro m h ^ i | raay /{ he , ulaoiexamines the questions of Akisvotlk ' s Method 1 and Clasnififartlon , everywhere comparing- 'the results bP mttdefri' tfciettce '^ vith the statements and opinions of the Greek ; and , in short , has , in the space of five
tyin ^ xed . sqftd page ^ pr ^ uce ^ n >^ iejna ^ n a . yf 4 » &h } Pi WP « 5 tflFyj ; ol fapta ivn 4 ide ^ w pfv th ^ gii ^ jepti . ,, Itvta » ot a mark ,. wk * ffeJIft 4 « iii *» ^> f ; review it oim ooliwnns ? -but ' * here : are . several of our ^^ oreadera f ^ ho may / be-tbanlriub foi ithi&inaic « 4 ionof its existence ' . l ^' " > ''"" - ' •'• >/ - ' ^ ' ' /; oVJ : v - '' ' ! -
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¦¦ j .. .,,., ! -, i i -, \ ! ?¦ .- !< . •/ r " . -,, i - k i ; :,: •< - i ; iv > : m :-: ¦» - .- ) :: < -j ; » k < i ; i ' > ' i' ' » « ' •¦ " , Hvi ^ )> . i .: ¦ ,, ¦ -. « " j ; / ,: LOVBiINiTH © DBAIMAj . " , » •] . . « > -- > f •¦>! . ¦{«; «• . CVhfB . efo . Literature DramaHque , ^ ou VU * ttg& > dei Passion * \ darts le JDreune . ¦ PA » bl . , ; ., Sawt-rMare ftu » Edln . . Tomet troisifeoie . .. I ,: i-. i « > ¦ i : v . Parks : CharpentiEr M . Saiht > Mabc GilRABbn * is a writer who makes the public hot only desfr « his volumes , but wait for them . Tbe reason of this , in the case of tli <
Cours de Litterature I > rahiaHqm ) ; is that it consists of' lec ^ res given by him at the Sorbonno ^ so ^ hRt the vbliiniea can ^ hl y appear ftrwr their contents have been delivered in " winged words . " ThS'first ; volute ^ was published in | , $ ( 43 , thesecond in . 18 « 49 , and it is only now * lafter the Upseiofi another six yeacs , thafi iwe obtain the vnelcomo third . iNiothuog canj he imoiie charmingly easy ,. an < i conyernational than iUie- style . of , these . vblumea . W © have all experienced that Vwlio writes ; about amusitifg books must' himself be amuamg , " is asfo ^ froai being , an axiom ; as . Johnson ' s immortal parody-, . 'V Whpjtlriyes fat oxen roust himself be fat : ; ' * and that a work tan the belles lettres msky be as dropsy 4 & one oa weights and measures . But M . Saint-MaTc GirordiwAs oner of those writers who niake a graceful subject still more graceful ! be enhances the ! beauty of the flowers he gathers by tbe tasteful way in which be weaves tbqw togetheu . Qualities which make him delightful as a critic are bis . ready appreciation of beauty , even when that beauty is mingled with , much quaintness and absurdity , aii < i his lively sengi-1 _* i : / A . ^ A »» *« n ? 4- A * ' < w ^ nn ! mA fnnilnr * . ITa linO Q ^ . AIM « A . ^> nA < hll' . V St llrfl lAT * f 7 A-
. ness-of tUougbt--not a ; eqiuuioa conjunction anywhere , and perhaps especially uncommon in JFrancc ; he is liberal » vithout being lax , and pure without the , ; leaBt $ oa /> fo » . of prudery- ' . In theiatter part of bis second , volume he exnnuned the three grandmfliuences which have modified tbe character of JJove , and made us differ so widely- from , the ,, ancients , iu our conception , and presentation of 'ihat passiou ,, namely , dhxisMauity ,., obivalry , and the doctrine . of Platonic love . In the presont vptume be pursues the subject of Love , and traces , its modi-4 catipns < in * the sixteenth and iseventeenth century * by analysing ^ rather graphically ^^ sketching the threq ; typical , romances . , The Amaiiis , which represenl . seUiyalrous love ui its moire softened ! and effeminate stage ; the Astrte , which mingles I- 'latohic with chivalrous love , under the name of pastoral lo , ye ; and the Clelio . y which is t } ie code ; of / a galfMteria homuley and . ' ^ marks t ^ e apog ee , of woman ' s preponderance in tho world : And . in . lito ' sature . " We recommend readers who would like to be told , iu the pleasantest . way ,
something abqut those , antediluvian romances , to turn to tlus volume Ol JM . *> aint-Marc i GirarOiw ' s . He will jjhqiy ; theuj niatUr for « du \ iration , even in D \ Jr& and MUe . Scu ^ ery , andi ^ As A lways w . ortfi while to widen our circle of admiration . Afte ? 4 hi * s surveying the general , expression , of JUovc under tbe varying conditions of society , ' from antitj [ uity down to the seventeeth century , M ° Girardin enters on an examination of the particular expressions given to this passion in the dram * , / the rbniariec ^ ' a ! nd the pastoral , and it is this parfc / Of 4 us work whiieh inmost attractive ^ lie openW for us -6 «" e . book after another , perhaps lying dusty on our shelves , ^ oinVs out beautiful passages # nd } significant tyaitS a ^ akes / rhepeijitaa appear-thev-moabtempting * author in the ^ yorJtd , ajid pastorals wQ > gea « ral eeem rroftdttblo-r ^ whicU we humbly confess f > vej » ftve > rajrclyifpuAiiJ tbeiuh—showsa ^ np a ^ preuifttian . of Shukspearoj i and wiuU ^ . up . byjcjbiftrining h , i * areadei ?! e , iinterest to iladame . li ) esb . ouliferes , : who oi ^ ght-tV , jbe ^ fiWJn : grateful vecc ^ lectiott ^ iffOK nothing else , at least for ba-ying wrifte ^ . thpsp inc '^ iyeilines---,. ; . ; - . i -. ,,- ¦ v
., ¦; , | ,: u . i . . J i . / . Nul n ' ost content-do sa fortune , ' /¦ ¦ >¦ ,., i . : ; ,,., ; . ¦ . . ' ,, . W i >» 6 Wt » te 0 il 4 «( $ oii i <» pritr- > - / , an epigram towhidh La iRoohefouQiauld has given * rtew dre « s in his Maximes . t nltii ^ 'of course . impossible for us to follow him through tbia ¦ lengthy Burver , doivby » way ofi seledtiot * , we turn to bis observations on Ilomeo and Juliet , in which he compares Shakspeare ' a tragedy with the novel of Lnujt da Porto . In tbe novel itiis ^ uliet . tvho m akes the first-iulntnce to llouieo ^ at the first glhnce they «< xclraagc , the youngi roaulon feels tliat-her hoaTfc is no linger her OWn , aufl ' wiufcn the progr / esft uf thd . danice'brirtgs Komeo ncar'to her , she says , "( Wfelcoine . to , « my' side ,- Meascr . ilomco . ' M . Oirardin obsoryea that this treatment of the subject is entirely in the spirit of ancient poetry , jo . ! kIJ » qwqvaqiltirr-mVMUyy ' m ancient poetry and , iu . tlio ^ ta Hanr « iovel , which is here in entire unison ith ancient whdo the love notore
w poetry , y -women being . Jpye <^ ? , Avhj , < lq tfie > y feel t , ho . pa ^ sioii , before , inapiyjnft it ? and wliy r i » mpdern . ; po ^ fy , ai ? d rpruance * , < ta WQ . fiiid the coutpary ? iJido loves Kneaa befoiic >^ ^ nq ^ v ; > vhei ) iqr eJw w ^ , loved in rot urn , and we may even doubt wh ^ her , she jyag cyc ^ J | oy , Cjslv \ M * nkii \ lovesiJa « on boforc b « ing lovod by hii «> . Is ; it , that . the Jpxpr ^^ ten . hqrqines of . nntiquU ^ i hiMrJess modesty thaa th « love-smitten heroines of modem times P , or , is it that tl > o wofl ^ rn poets and r , on ) an , cersai : « inprQ . re ^ n ^ d . un ^ rOrSer . veil . irt ^ ho pictures they . give ^ ot woman ' s sentiment ?;? ,., '' , Thc :, munncra of i \ ntinuity inrty q ^ p lnin wh y ^ ia ancient poetry , woman wants that reserve in fuufii ^ g , i > , im 1 , yet more in words , which in her rule in , mp ^ ern , ( iinefj . ^» u . t lip i ^ i tiip ^ ynuccum , and never mixing » 11 tllt ! society of men , who themselves i ' ound objects yf Jovu . clapwJhere , woiucn woro compelled , when love tpvjc uqsbc ^ sjom of tl » v » ' hearty , to prollyr the avoval cinaia
of their passion ; they must themselvca . reveal , their , secrut ^ . or let it l for * ever ^ ' nkjiowip . ' . . . . ' / lilic less free woiiiau is uiado by laws »»«» cbny ' entional ' jties , ' thb'frcpr ' ^ ' ocs she become through passiou when she yichls heraelf ; up to it . i , Tlius , the women whpsii pasHion inadc thorn famous " » anficjuUy Were compellc < l to , forget at oi ^ ce llic fir ^ t and l | i . st propriiti « ' « ot ^ Yieir sex ! . In order jio bo loved , they were forced to uny that they lovetl ; and lidnce ancient poetrj ' wan accustomed to represent its heroines aa making tho first avowals ql love . " !) M | . Cirarclin then coca on to say that Shakspcnre , 1 " who ««« altogether ii modern , " diirers in his trcnhncijt froni the ^ tulian novclirtt , in natugnintf tll ( | firat mbyehiont ftlid oxprcasloh of lovo to Koines , ; w if h »; meant to im |»)' that Shalca ' peafc 'is ' 1 ' an cxauiplo of tbo iptitlicsia ho lias just been stilting DetWeeti « irtci 6 ht and modern loyci or rather Iovu-makiifg . Ho could hardly havb made a more unfortunate selection of a case in point , for—inconvenient .
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Citation
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Leader (1850-1860), Aug. 25, 1855, page 820, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2103/page/16/
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