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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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This is quite evident , after a careful examination of all his various touches in working out almost every one of his characters ; but the contrary appears to be the case while employed in the perusal , owing to the minute , graphic , and admirable external portraiture he gives . The universal and unavoidable belief—whether , as a theory ,
it be or be not admitted—in physiognomy ( by which we mean not only the face , but the whole external superficies , including the individualities protruding from every point of view , both in form and habiliment ) naturally gives us an impression of the inward character . Shakspeare adopted the opposite plan , though in a few strong and comprehensive touches . He says very little of face , form , or dress . But the different method will perhaps be
more immediately apparent by comparing the delineation of a leading character by Scott , with one of the heroes of Godwin ' s novels * where the elaborate painstaking in developing the inward man forms so forcible a contrast . Of Scott ' s admirable descriptive power , however , our critic speaks highly , and with every reason ; the circumstances and the actions of Scott ' s characters
supply the rest sufficiently for his purpose , and for that of the justl y admiring public . Monsieur de Chateaubriand , we are informed , has paid the Monthly Repository the compliment of noticing its existence in English Literature , though the fact has escaped us in perusing his work . Fully aware that he is rather exacting on the score of compliment , and will expect far more than a fair exchange , we have only to express our regret , without meaning to be ungrateful , that we are quite unable to offer any adequate return . It . H . H .
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596 The Accompaniment .
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The lark , as I did read her sweetest letter , Sang heavenward in divine accompaniment ; And as its gentle meanings ceased to fetter , At intervals , all sense o' the outward ear , I heard that loud bird-music piercing clear The freshness of the morning element , Descending as its minstrel made ascent And tuned to that soft-written argument . In Love is all-embracing sympathy : All accents of the song of that high bird , All modulations of its melody , Were answer * d by that letter ' s spirit and word ; And the far bird re-echoed , tone for tone , The love-notes which my tranced eye trembled on .
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THE ACCOMPANIMENT .
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* W . *
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Citation
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Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Oct. 2, 1836, page 596, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct2662/page/8/
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