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KING LEAR, AND Mr. COOKE IN THAT CHARACTER.
(Continued from page 64.)
The second act is still more full of excellent and interesting matter than the first. In the commencement of it the villanous projects of Edmund, Gloster's natural son, against the life of his legitimate brother Edgar; the hypocrisy with which he conducts his machinations, the credulity of Gloster, and the voluntary ban. ishment and flight of Edgar, afford a new subject of sympathy and alarm. Edgar's soliloquy is extremely affecting and interesting, and prepares us happily for the disguise of madness and misery which he afterwards assumes to save himself from discovery. Of the incidental speeches there are some which deserve particular mention, on account of their good sense and the felicity of the language in which they are couched: Such is Kent's respecting the steward, who first runs away from him, and afterwards, when under protection, abuses him, and gasconades at his expense.
That such a slave as this should wear a sword,
And such too we take to be the observations of Cornwall upon the bluntness of Kent's manners and language.
for on is the Kelly
This is some fellow
Quite from his nature. He cannot flatter, he!
An honest mind and plain,-he must speak truth:
That stretch their duties nicely. The placing of Kent in the stocks has been sneered at by hypercritics as farcical: but, though it may excite ludicrous emotions in some of those precious critics who in England sit in the shilling gallery, and with us in the pit, we will never agree that an incident is censurable or farcical which serves, as this does, to heighten the interest of the scene by acting as a natural cause of inflammation upon the choleric temper of the old king, who, already extremely irritated, takes fire at the unworthy treatment sustained by his faithful and favourite servant and messenger. Kent's blunt and sarcastic responses to the inquiries of Lear, how he came into that disgraceful situation, are highly entertaining and characteristic, while the expressions of Lear at the indignity are very affecting
Lear. They durst not do 't.
To do upon respect such violent outrage.
0, how this mother swells my heart!
What an admirable passage too is the following-Gloster having informed the old king, in answer to his desire to speak with Cornwall and Regan, that they are not to be seen, the latter takes fire.
Lear. Deny to speak with me? They are sick? They are weary?
Gloster. My dear lord!
Lear, enraged at the thoughts that his late subject minion, his son in law, and his debtor for every thing he now possesses, should dare to be so presumptuous, breaks out in terms of unlimited fury:
Lear. Vengeance! plague! death! confusion!
Gloster. Well, my good lord, I have inform'd them so.
Lear. The KING would speak with Cornwall,
How exquisite, how charming, how natural, for such a man as Lear, is this transition. In temper a mere man, and a choleric one too, he at first gives way to jealousy and anger; but, in soul an angel, he checks himself, considers, corrects his hastiness, and, flattering himself that Cornwall's reason for not seeing him is in reality sickness and fatigue, he apologizes
May be he is not well;
If it were not that the noblest productions of Shakspeare are
[Pointing to his heart.
The breaks in this passage mark the interruption of his speech by his poignant feelings so exquisitely and appropriately, that if the part, unmarked with pause or stop, were presented for perusal to
person of refined feeling, we are persuaded he could not recite the words aloud without pausing and struggling for utterance at the very same critical points that are fixed by Shakspeare. For our parts, we candidly aver that we cannot even silently peruse one of these wonderful breaks and piercing hemistichs, which abound in this character of Lear, without feeling the same painful physical effect in the organs of speech as if we had gone through the struggles and convulsive efforts of delivering them aloud. Admiring, justly admiring them as we do, and thinking that our readers will feel as we feel them, we cannot resist the impulse to be thus circumstantial.
Quis talia fando,
Temperet a lachrymis? Who can hear-who can contemplate, without feeling horror strike to his heart, such a being as Lear, “ a poor old man, as full of grief as age," uttering-upon his knees too uttering—such words as these
Dear daughter, I confess that I am old:
That you'll vouchsafe me raiment, bed and food. When Goneril enters upon them as he is expostulating with Regan, his horror at the sight of her is expressed in a manner the most extraordinarily impressive and indeed terrible! He neither addresses himself to her for she is loathsome to his sight and hateful to his heart-nor to those about him for his sensations at the moment are too great and awful to be submitted to mortal ears, but he throws himself upon Him who alone can read his heart, and appealing to heaven, in the most solemn and pathetic terms imaginable, calls out for justice.
Make it your cause; send down, and take my part. When Goneril again insults him, the fluctuation of his temper is finely marked in the lines
Now I prythee, daughter, do not make me mad;
I will not trouble thee, my child: farewel:
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When they have, in violation of the terms on which he “ gave them all,” brought down his train to five and twenty, and proceed. ing further, Goneril says
What need you twenty, or ten, or five! and Regan adds,
What need one!
his answer is admirable, and fraught with moral and practical
O reason not the need; our basest beggars
You heavens give me patience, that I need.
“ Is this well spoken now?" And when she inhumanly perseveres, he stoops to remind her of his gifts and goodness in the most pathetic terms of simplicity that ever fell from human lips:
“ I gave you all!”