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Only the largest and heaviest belemnites are known as thunder stones; the smaller ones are more commonly described as agate pencils. In Shakespeare's country their connection with thunder is well known, so that in all probability a belemnite is the original of the beautiful lines in 'Cymbeline': Fear no more the lightning flash, Nor the all-dreaded thunder stone,
"With Cain go wander through the shades of night!" cries the new king to the gaoler Exton, dissimulating his share in the murder he is thought to have suggested; and in truth there is something of the murdered Abel about Shakespeare's Richard.
I am asked to write an Overture and am going to take as subject Shakespeare's Tempest; it will be quite a new style of thing. My great concert, with the Symphonie Fantastique, will take place November 14, but I must have a theatrical success; Camille's parents insist on that, as a condition of our marriage. I hope I shall succeed."
All that it means rushes then like a torrent on his soul; when Othello falls on the bed, by Desdemona's body, the remorse and love that rend him with their talons are beyond even Shakespeare's power of expression. With groans scarcely uttered, Othello gives the only outlet possible to the blinding, scathing storm of passions within him.
'I don't want to see your letter. 'What do you mean, Emily? 'Nothing, only I think it rather strange that he didn't write to me. Some days after, Emily took up the book that Julia had laid down. "Shakespeare's Plays." I suppose you are reading them so that you'll be able to talk to him better. 'I never thought of such a thing, Emily. At the end of a long silence Emily said
In any case there was one then newly dead, too long before his time, whose memory stands even higher above the possible ascription of such a work than that of the adolescent Shakespeare's very self. Of one point we may be sure, even where so much is unsure as we find it here: in the curt atheological phrase of the Persian Lucretius, "one thing is certain, and the rest is lies."
"It is not for a moment to be doubted, we think, that in this volume a contribution has been made to the clearness and accuracy of Shakespeare's text, by far the most important of any offered or attempted since Shakespeare lived and wrote." Lond. Exam. "The corrections which Mr.
A man's beauty was as often the theme of verse as a woman's, and the endearing terms only associated by us with the conversation of lovers were used continually among men. The friends in Shakespeare's plays, as in all the other dramas and novels of the period, continually address each other as "sweet," and even "sweet love" and "beloved."
If these definite illustrations of Shakespeare's human figures affront us, how much worse is it when an artist tries his hand at the figures that are superhuman! Imagine an English illustrator's projection of the weird sisters with long grey beards duly growing on their chins, and belike one of them duly holding in her hand a pilot's thumb.
In dealing with his poetry other resemblances will suggest themselves. All the best poetry the world has known is full of such resemblances. If we find Emerson's wonderful picture, "Initial Love" prefigured in the "Symposium" of Plato, we have only to look in the "Phaedrus" and we we shall find an earlier sketch of Shakespeare's famous group, "The lunatic, the lover, and the poet."
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