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or, Public Elegance and Private Non-Part...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Vicissitudesof A Lecture;
( all observe , as if he were reading some mighty text in a pulpit ) . —take in— -the topsail—tend—to the master '
s—whistleand so be went on , amidst the deep and admiring silence of the spectators , whose shoulders you might observe , here and there , gradually begin shaking , out of some irrepressible emotion . A wag who has a lively but confused recollection of the
scene , insists that there was a passage in the dialogue , which upon examination we cannot find , but which he delights to repeat as having been thus
delivered , —very slow and pompous , yet w ; ith the remarkable absence of stops between the names and words of the speakers , and all in a level
tone—First Boatswain—Hip—hollo-a Second Boatswain—Hollo-a—hip . But this is manifestly a figment , superinduced upon a strongly excited fancy . Of the rest of this scene from
the Tempest , singularly enough , we have no sort of recollection . Whether this forgetfulness be owing to some unremembered stoppage 6 n the part of the reciteivor to the criticisms of the
friends about us , or some uproarious sympathy analagous to th _£ tumult on board ship , we cannot say ; but the thing has clean gone 6 ut of our metnory . All we can" call to mind is a
little thin old gentleman , probably a friend of the lecturer ' s , who kept going about among the benches , smiling , and _apparently asking the ladies how _^ hey
Vicissitudesof A Lecture;
liked it ; and exhibiting a hand laden with rings . But now came the Allegro . Our memory serves us very well on this point , for reasons which will be obvious .
Hence , —loathed—MEL-ancholy began Ned , in the most vehement , but at the same time dignified manner you can conceive—absolutely startling ushis mouth thrust out , his eye
fierce , his right arm extended at full length , tossing his head , and then pointing ;—in short , telling Melancholy to go to the greatest possible distance , and as if shewing her whereabouts
it was . Hence—loathed—Melancholy—Of Cerberus —' and — BLACK-est — midnight born ( ''blackest" excessively black on the first syllable )
In—Stygian—cave- —forlorn—Midst—horrid shapes—and sights—and _shrieks—unholy" unholy" with an immense emphasis on the o—and so he went on till he came to the words 6 ( I _rw * % - » _£ » on / i _toirtrnf- x ! rvi _» 4 * _iirkiinrl _^ " Come and trip it ; " forthough
the feeling in the poet ' s mind changes wonderfully from the repelling to the engaging , in that alteration of the . measure , where he says < _6 But come ,, thou goddess fair and free / ' y _$ t Ned seemed to think , that as both the
passages were equally good , it was his duty to regard their merits with impartiality , and not risk the appreciation of the cheerfuller lines by any levity of approach . His " Come—thou Goddess—fair—and free" was therefore delivered in _precisely the same tones as the _rtsly—
Or, Public Elegance And Private Non-Part...
or , Public Elegance and Private Non-Particularity . 2 R
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Citation
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Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), July 1, 1837, page 27, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/mrp_01071837/page/25/
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