Which scarcely keeps thee warm.—­But, for true need—­
     You heavens, give me that patience which I need! 
     You see me here, you gods; a poor old man,
     As full of grief as age; wretched in both! 
     If it be you that stir these daughters’ hearts
     Against their father, fool me not so much
     To bear it tamely; touch me with noble anger! 
     O, let no woman’s weapons, water-drops,
     Stain my man’s cheeks!—­No, you unnatural hags,
     I will have such revenges on you both,
     That all the world shall—­I will do such things—­
     What they are, yet I know not; but they shall be
     The terrors of the earth.  You think, I’ll weep: 
     No, I’ll not weep:—­
     I have full cause of weeping; but this heart
     Shall break into a hundred thousand flaws,
     Or e’er I’ll weep:—­O, fool, I shall go mad!
           [Exeunt Lear, Gloster, Kent, and Fool.]

If there is anything in any author like this yearning of the heart, these throes of tenderness, this profound expression of all that can be thought and felt in the most heart-rending situations, we are glad of it; but it is in some author that we have not read.

The scene in the storm, where he is exposed to all the fury of the elements, though grand and terrible, is not so fine, but the moralizing scenes with Mad Tom, Kent, and Gloster, are upon a par with the former.  His exclamation in the supposed trial-scene of his daughters, ’See the little dogs and all, Tray, Blanch, and Sweetheart, see they bark at me,’ his issuing his orders, ’Let them anatomize Regan, see what breeds about her heart,’ and his reflection when he sees the misery of Edgar, ’Nothing but his unkind daughters could have brought him to this,’ are in a style of pathos, where the extremest resources of the imagination are called in to lay open the deepest movements of the heart, which was peculiar to Shakespeare.  In the same style and spirit is his interrupting the Fool who asks, ‘whether a madman be a gentleman or a yeoman’, by answering ‘A king, a king!’

The indirect part that Gloster takes in these scenes where his generosity leads him to relieve Lear and resent the cruelty of his daughters, at the very time that he is himself instigated to seek the life of his son, and suffering under the sting of his supposed ingratitude, is a striking accompaniment to the situation of Lear.  Indeed, the manner in which the threads of the story are woven together is almost as wonderful in the way of art as the carrying on the tide of passion, still varying and unimpaired, is on the score of nature.  Among the remarkable instances of this kind are Edgar’s meeting with his old blind father; the deception he practises upon him when he pretends to lead him to the top of Dover-cliff—­’Come on, sir, here’s the place,’ to prevent his ending his life and miseries together; his encounter with the perfidious Steward whom he kills, and his