suffering and fate of earthly existence; death and annihilation are a jest to him.
On this account he stands above the
earthly existence and its tragic side; and he has already at tained the aim of the tragic art, the elevation of the human
spirit over the mere life of this world, with its sufferings and doings; this appears in him, as it were, personified. His very humour is in its conception, the comic sublime. Wonder has been expressed that the poet should confer such magnanimity
and intelligence on one who has degraded himself to the posi tion of a mere jester. I can only admire therein the profound wisdom of the master; for when life itself is nothing to a
man, his own position in life will be nothing to him ; and the lowliest lot will be preferred and selected, because it expresses most clearly our real elevation.” In Lear's next appearance a change has taken place both in his circumstances and in his state.
He has arrived at
Dover, and he “Sometimes, in his better tune, remembers
What we are come about, and by no means Will yield to see his daughter.” The memory of his own harsh and cruel conduct to this
dear daughter,
and the burning shame he feels, detain
him from her. It appears from his subsequent interview with her, that apprehension of Cordelia's hatred affords another motive. “I know you do not love me.” His old love for her indeed has returned, and he will take
poison from her hands if she wills it; but the poor vexed mind cannot perceive that Cordelia differs from her sisters; differs so much as to lead Kent to declare that human disposition is the sport of fate, and not the
result of law; that injuries cannot weaken her love, even as unbounded benefits could not secure theirs.
Lear is
no longer surrounded by the sympathizing but grotesque companionship of his first maniacal hours. The dearly loved fool has strangely disappeared ; his frail existence ceases, without sign or comment. Edgar is transformed from mad Tom into the peasant guide of his blind father. Some
