The English Illustrated Magazine, Volume 10Macmillan and Company, 1893 |
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Page 3
... artists - in that they necessarily appeal to the eye as well as to the ear . In an ideal 109. October , 1892 . condition of musical representation , the machinery will be as completely hidden from view as are the conductor and or ...
... artists - in that they necessarily appeal to the eye as well as to the ear . In an ideal 109. October , 1892 . condition of musical representation , the machinery will be as completely hidden from view as are the conductor and or ...
Page 4
... artist , can secure good performances of great works . The affirmative has been proved over and over again , but it would SIR JOSEPH BARNBY . From a photograph by Russell & Sons , Wimbledon , S. W. be superfluous to do more than ...
... artist , can secure good performances of great works . The affirmative has been proved over and over again , but it would SIR JOSEPH BARNBY . From a photograph by Russell & Sons , Wimbledon , S. W. be superfluous to do more than ...
Page 29
... artists are right in carrying the hirsute appendage below the girdle is another matter . ancient Jews considered it the greatest insult that could be offered to a man to pluck his beard , which may account in part for the wonderful ...
... artists are right in carrying the hirsute appendage below the girdle is another matter . ancient Jews considered it the greatest insult that could be offered to a man to pluck his beard , which may account in part for the wonderful ...
Page 48
... artists , grouping as it does with the great porch of the farmhouse close by , that I fear it too must shortly vanish . Only a year ago , the same fate befel the round stone dovecote at Wigmore Abbey ; a date 172- was cut in the vane ...
... artists , grouping as it does with the great porch of the farmhouse close by , that I fear it too must shortly vanish . Only a year ago , the same fate befel the round stone dovecote at Wigmore Abbey ; a date 172- was cut in the vane ...
Page 62
... artist and something of a dram- atist ; he was not at the Place Vendôme at a certain critical moment ; he was not at Mont - martre at a particular terrible time ; he was not a major like Mayer ; he was young , with the face of a patriot ...
... artist and something of a dram- atist ; he was not at the Place Vendôme at a certain critical moment ; he was not at Mont - martre at a particular terrible time ; he was not a major like Mayer ; he was young , with the face of a patriot ...
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Common terms and phrases
artist asked Attila beard beautiful Belvoir Castle better Blake Burnett Carbourd castle Chalker Church Church Army colour Comédie Française Conseltine Courtland cricket cried dark dear Desmond door dovecote Dows Dulcie engine England English eyes face Farling father Feagus feet followed Free Foresters G. F. WATTS girl Goldworthy golf half hand Hartmann HARTMANN THE ANARCHIST head heard heart Hill horse hour Kilpatrick knew lady Laflamme Lilias live London look Lord Marie matter ment miles mind Miss Sally morning mother Moya never night once otter passed Peebles perhaps picture play Pollokshaw poor prison round seemed seen ship side skating smile Southwold speak standing Stanesby Street tell thing thought tion took turned Véra vessel voice Walberswick window woman Yakutsk young
Popular passages
Page 310 - Although thy breath be rude. Heigh, ho ! sing, heigh, ho ! unto the green holly : Most friendship is feigning, most loving mere folly Then, heigh, ho, the holly ! This life is most jolly. Freeze, freeze, thou bitter sky, That dost not bite so nigh As benefits forgot : Though thou the waters warp, Thy sting is not so sharp As friend remember'd not Heigh, ho ! sing, heigh, ho ! &c.
Page 158 - Cordelia, that never chang'd word with each other in the Original. This renders Cordelia's Indifference and her Father's Passion in the first Scene probable. It likewise gives Countenance to Edgar's Disguise, making that a generous Design that was before a poor Shift to save his Life.
Page 347 - And now, beloved Stowey! I behold Thy church-tower, and, methinks, the four huge elms Clustering, which mark the mansion of my friend; And close behind them, hidden from my view, Is my own lowly cottage, where my babe And my babe's mother dwell in peace!
Page 535 - We have fed our sea for a thousand years And she calls us, still unfed, Though there's never a wave of all her waves But marks our English dead: We have strawed our best to the weed's unrest, To the shark and the sheering gull. If blood be the price of admiralty, Lord God, we ha...
Page 534 - We were dreamers, dreaming greatly, in the man-stifled town; We yearned beyond the sky-line where the strange roads go down. Came the Whisper, came the Vision, came the Power with the Need, Till the Soul that is not man's soul was lent us to iead.
Page 164 - The contemptible machinery by which they mimic the storm which he goes out in, is not more inadequate to represent the horrors of the real elements, than any actor can be to represent Lear: they might more easily propose to personate the Satan of Milton upon a stage, or one of Michael Angelo's terrible figures.
Page 519 - AH, did you once see Shelley plain, And did he stop and speak to you And did you speak to him again ? How strange it seems and new...
Page 161 - A king, aye, every inch a king, Such Barry doth appear; But Garrick's quite a different thing — He's every inch King Lear.
Page 164 - Tate has put his hook in the nostrils of this Leviathan, for Garrick and his followers, the showmen of the scene, to draw the mighty beast about more easily.
Page 459 - To eat Westphalia ham in a morning, ride over hedges and ditches on borrowed hacks, come home in the heat of the day with a fever, and (what is worse a hundred times) with a red mark on the forehead from an uneasy hat; all this may qualify them to make excellent wives for foxhunters and bear abundance of ruddy complexioned children.