the imagination. Something whispers us that we have no right to make a mock of calamities like these, or to turn the truth of things into the puppet and play-thing of our fancies. "To consider thus" may be "to consider too curiously;" but still we think that the actual truth of the particular events, in proportion as we are conscious of it, is a drawback on the pleasure as well as the dignity of tragedy.
King John has all the beauties of language and all the richness of the imagination to relieve the painfulness of the subject. The character of King John himself is kept pretty much in the back-ground; it is only marked in by comparatively slight indications. The crimes he is tempted to commit are such as are thrust upon him rather by circumstances and opportunity than of his own seeking: he is here represented as more cowardly than cruel, and as more contemptible than odious. The play embraces only a part of his history. There are however few characters on the stage that excite more disgust and loathing. He has no intellectual grandeur or strength of character to shield him from the indignation which his immediate conduct provokes: he stands naked and defenceless, in that respect, to the worst we can think of him: and besides, we are impelled to put the very worst construction on his meanness and cruelty by the tender picture of the beauty and helplessness
