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William Congreve
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William Congreve : Love for Love
Friday 13 September 1935: 'Reading Love for Love, Life of Anthony Hope, &c.'
Century: 1900-1945 Reader/Listener/Group: Virginia Woolf Print: Book
William Congreve : Way of the World, The
'Louis 14 certainly never fell into the error Mrs Millamant cautioned her intended husband against in a clever wicked old play that you never read: "Good Mirabel, do not let us be familiar and fond before folks, like my Lady Faddle and Sir Francis". Whereas now it is my Lady Faddle and Sir Francis in Westminster Abbey and St Patrick's Cathedral'.
Century: 1800-1849 Reader/Listener/Group: Louisa, Lady Stuart Print: Book
William Congreve : Mourning Bride, The
'After dinner our conversation first turned upon Pope. Johnson said, his characters of men were admirably drawn, those of women not so well. He repeated to us, in his forcible melodious manner, the concluding lines of the "Dunciad". While he was talking loudly in praise of those lines, one of the company ventured to say, "Too fine for such a poem:— a poem on what?" Johnson, (with a disdainful look,) "Why, on [italics] dunces [italics]. It was worth while being a dunce then. Ah, Sir, hadst [italics] thou [italics] lived in those days! It is not worth while being a dunce now, when there are no wits." Bickerstaff observed, as a peculiar circumstance, that Pope's fame was higher when he was alive, than it was then. Johnson said, his Pastorals were poor things, though the versification was fine. He told us, with high satisfaction, the anecdote of Pope's enquiring who was the author of his "London," and saying, he will be soon [italics] deterré [italics]. He observed, that in Dryden's poetry there were passages drawn from a profundity which Pope could never reach. He repeated some fine lines on love, by the former, (which I have now forgotten,) and gave great applause to the character of Zimri. Goldsmith said, that Pope's character of Addison shewed a deep knowledge of the human heart. Johnson said, that the description of the temple, in "The Mourning Bride," was the finest poetical passage he had ever read; he recollected none in Shakspeare equal to it'.
Century: 1700-1799 Reader/Listener/Group: Samuel Johnson Print: Book
William Congreve : Mourning Bride, The
'I have heard Johnson say that there was no Series of Verses in any English Tragedy so sublime & striking as the passage in Congreve's Mourning Bride: beginning thus How reverend is the face of Yon tall Pile!'
Century: 1700-1799 Reader/Listener/Group: Samuel Johnson Print: Book
William Congreve : Old Batchelor, The
'The two [italics] wittiest [end italics] things in our Language in Verse & Prose are Dr Young's Conjectures on Original Composition I think, and Dr Swift's Ballad on the South Sea. The two Tragedies which go nearest one's Heart I think - in our Language I mean - are Southern's Fatal Marriage and Lillo's Fatal Curiosity. The two best Comic Scenes in our Language according to my Taste are the Scene between Squire Richard & Myrtilla in the Provoked Husband, and that between Sir Joseph Wittol, Nol Bluff and Sharper in the Old Batchelor - not the kicking scene but the friendly one. The two best [italics] Declamatory [end italics] Scenes where the Sentiments and Language are most perfect, seem to be the Scene between Juba and Syphax in Addison's Cato, & that between the two Ladies in Johnson's Irene. I know that both are unDramatic, the latter more peculiarly so, than ever was, or ever ought to have been hazarded - but for Language & Sentiment it is most Superb. - Superieure as the French say. Johnson says the finest Tragic Scene in our Language, for Drama sentiment, Language, Power over the Heart, & every Requisite for Theatre or Closet, is the Tomb Scene in the Mourning Bride. [italics] I [end italics] think, that trying to be [italics] every [end italics] thing it escapes being [italics] anything [end italics]'
Century: Reader/Listener/Group: Hester Lynch Thrale Print: Book
William Congreve : Mourning Bride, The
'The two [italics] wittiest [end italics] things in our Language in Verse & Prose are Dr Young's Conjectures on Original Composition I think, and Dr Swift's Ballad on the South Sea. The two Tragedies which go nearest one's Heart I think - in our Language I mean - are Southern's Fatal Marriage and Lillo's Fatal Curiosity. The two best Comic Scenes in our Language according to my Taste are the Scene between Squire Richard & Myrtilla in the Provoked Husband, and that between Sir Joseph Wittol, Nol Bluff and Sharper in the Old Batchelor - not the kicking scene but the friendly one. The two best [italics] Declamatory [end italics] Scenes where the Sentiments and Language are most perfect, seem to be the Scene between Juba and Syphax in Addison's Cato, & that between the two Ladies in Johnson's Irene. I know that both are unDramatic, the latter more peculiarly so, than ever was, or ever ought to have been hazarded - but for Language & Sentiment it is most Superb. - Superieure as the French say. Johnson says the finest Tragic Scene in our Language, for Drama sentiment, Language, Power over the Heart, & every Requisite for Theatre or Closet, is the Tomb Scene in the Mourning Bride. [italics] I [end italics] think, that trying to be [italics] every [end italics] thing it escapes being [italics] anything [end italics]'
Century: Reader/Listener/Group: Hester Lynch Thrale Print: Book
William Congreve : Mourning Bride, The
'The two [italics] wittiest [end italics] things in our Language in Verse & Prose are Dr Young's Conjectures on Original Composition I think, and Dr Swift's Ballad on the South Sea. The two Tragedies which go nearest one's Heart I think - in our Language I mean - are Southern's Fatal Marriage and Lillo's Fatal Curiosity. The two best Comic Scenes in our Language according to my Taste are the Scene between Squire Richard & Myrtilla in the Provoked Husband, and that between Sir Joseph Wittol, Nol Bluff and Sharper in the Old Batchelor - not the kicking scene but the friendly one. The two best [italics] Declamatory [end italics] Scenes where the Sentiments and Language are most perfect, seem to be the Scene between Juba and Syphax in Addison's Cato, & that between the two Ladies in Johnson's Irene. I know that both are unDramatic, the latter more peculiarly so, than ever was, or ever ought to have been hazarded - but for Language & Sentiment it is most Superb. - Superieure as the French say. Johnson says the finest Tragic Scene in our Language, for Drama sentiment, Language, Power over the Heart, & every Requisite for Theatre or Closet, is the Tomb Scene in the Mourning Bride. [italics] I [end italics] think, that trying to be [italics] every [end italics] thing it escapes being [italics] anything [end italics]'
Century: Reader/Listener/Group: Samuel Johnson Print: Book
William Congreve : Way of the World, The
'I was reading Congreve's Way of the World two Evenings ago, the character of Petulant is borrowed from Shakespear's Nym in Henry V: and the Expressions are in no few Passages literally copied. [italics] neither [end italics] Character strikes me much, Nym is so little known, he might safely be pilfer'd, but it seems not worth the while.'
