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Updated: May 21, 2025
Alice says that she looked pale and drooping, 'like the Bride of Lammermoor. There has been enough of this meddling with my little Peggy, I say, and I'm to blame for it. I don't know whether her heart is broken or not. I don't know whether she still cares for that fellow Goward or not. I don't know what she wants to do but whatever it is she shall do it, I swear.
On the morning of the third day, the bride and her friends arrived. She was the only child of a Lammermoor farmer, and was in truth a real mountain flower a heath blossom; for the rude health that laughed upon her cheeks approached nearer the hue of the heather-bell, than the rose and vermillion of which poets speak.
The flat of the land had long since disappeared: the upper slopes of the Cheviots on one side of Tweed and of the Lammermoor Hills on the other, only just showed above the line of the sea.
"Ivanhoe," in common with "The Legend of Montrose" and "The Bride of Lammermoor," was written, or rather dictated to amanuenses, during a period of great physical suffering; "through fits of suffering," says one of Scott's biographers, "so great that he could not suppress cries of agony." "Ivanhoe" made its appearance towards the end of 1819.
She expected every moment that she should see Morrel appear, pale and trembling, to forbid the signing of the contract, like the Laird of Ravenswood in "The Bride of Lammermoor." It was high time for her to make her appearance at the gate, for Maximilian had long awaited her coming. He had half guessed what was going on when he saw Franz quit the cemetery with M. de Villefort.
When he could not write he could dictate; and in this way, amid the agonies of a racking disease, he composed "The Bride of Lammermoor," "The Legend of Montrose," and a great part of the most fascinating of his works, "Ivanhoe." Never, certainly, did mind exhibit so decisive a triumph over physical suffering. "Be assured," he remarked to Mr.
Amidst the political excitement and the family interest of the summer, the following comes in almost like the Fool in 'King Lear' or Caleb Balderstone in the 'Bride of Lammermoor. It refers to a proposition surely one of the strangest ever submitted to a publisher which, in ordinary course, had been sent to Reeve for an opinion. And this is what Reeve wrote: To Mr. T. Norton Longman
"It is not honest," said Robbie Belle. Fragments of gay chatter floated back to them. "Caruso and Sembrich in Lucia di Lammermoor! Fancy! It is the most wonderful combination of extraordinary talent genius. I shall certainly go if I have to stand up every minute of the three hours." "It is simply wicked to miss such an opportunity." "Important part of our education, isn't it?
"Lucia di Lammermoor," an opera in three acts, words by Cammarano, was first produced at Naples in 1835, with Mme. Persiani and Sig. Duprez, for whom the work was written, in the principal rôles of Lucia and Edgardo. Its first presentation at Paris was Aug. 10, 1839; in London, April 5, 1838; and in English, at the Princess Theatre, London, Jan. 19, 1843.
No great distance from Berwick and directly on the ocean stands Fast Castle, said to be the prototype of the Wolf's Crag of "Lammermoor." This wild story had always interested me in my boyhood days and for years I had dreamed of the possibility of some time seeing the supposed retreat of the melancholy Master of Ravenswood.
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