This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1889 Excerpt: ...grandeur of action should express these words, and not the pulling of rags and straws, and sitting down cheek-by-jowl with Edgar. This might be a proper representation of a mad tailor, but by no means can it relate to the idea of King Lear. Nor should he be less earnest in all his stratagems, the "shoeing of a troop of horses with felt," should be delivered with rapture, as if he had hit upon a masterly expedient, and not expressed as if emanating from an idiot. As they are the principal faults in Mr. Garrick's acting of the part of Lear, we will now point out those beauties that serve to make him popular with the public. His acting in the f1rst act, with the exception of the curse scene, is masterly. The choleric man with Kent, and the discovery of his daughters' ingratitude, and, indeed, where quick rage is expected, he does the poet great justice. His manner, too, of expressing the feebleness and age of the old King throughout the play is well sustained, and, though in his mad scenes he is faulty, yet in other parts of the play his judgment and execution demand the highest applause. There is a mixture of distraction with joy, that he expresses as ' Was it not pleasant to see a thousand, With red-hot spits come hissing in among them." This I have never seen equaled, nor can he be excelled where the tortures of Lear's mind and the fatigues of his body throw him into a swoon; Garrick's approach and execution of this is inimitable; such a death-like paleness, and inactivity of his limbs can only be described by Shakespeare's own words: "He is, indeed, death's counterfeit." Nor can we forget the manner he recovers from his madness and recollects Cordelia; the passions of joy, tenderness and grief and shame are blended together in such...
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