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The London Spectator, which is one of the ablest and most thoughtful journals published in the English language, and which reflects the most intelligent, broad-minded, and influential public opinion in the British Empire, devoted a large amount of space to a consideration of the speech.
As the archers of old England practised their sport, so do the blacks exhibit their strength and skill, not as the modern lover of football, who pays others to play for his amusement, and who, possibly, knows not the game save as a spectator.
Certainly many pictures have been painted under the influence of profound feeling which leave the spectator entirely cold, and it is probable enough that the early Italians felt few of the emotions which their pictures call forth. We know that the masterpieces of Perugino, so moving, so instinct with religious tenderness, were very much a matter of pounds, shillings and pence.
It looks very curiously, and might remind the spectator of a stuff with horizontal stripes. Nevertheless, the effect is exceedingly rich, these alternate lines stretching away along the walls and round the clustered pillars, seen aloft, and through the arches; everywhere, this inlay of black and white.
Its surface, enameled with flowers, adorned with ever fresh verdure, peopled with thousands and thousands of differing species of animals, is a place of repose; an abode of delights, where man, placed to aid nature, dominates all other things, the only one who can know and admire. God has made him spectator of the universe and witness of his marvels.
For instance, the cat's tail had been eaten into in such a way that it might now have been taken for the figure of a spectator so long, and thick, and furry were the tails of our forefathers' cats. To the right of the picture, on an azure field which ill-disguised the decay of the wood, might be read the name "Guillaume," and to the left, "Successor to Master Chevrel."
It is that the military critic of "The Spectator," at that time Mr. Hooper, a civilian but with an extraordinary flair for strategy, divined exactly what Sherman was doing when he started on his famous march.
Even the imitation of a passion makes the actor for the moment ill; and after Garrick had played Lear or Othello he spent some hours in convulsions on his bed. Even the illusion of the spectator, through sympathy with acted passion, has brought on shivering, gout, and fits of fainting.
The simple admirer of the war-horse instantly fell back to a low, gaunt, switch-tailed mare, that was unconsciously gleaning the faded herbage of the camp nigh by; where, leaning with one elbow on the blanket that concealed an apology for a saddle, he became a spectator of the departure, while a foal was quietly making its morning repast, on the opposite side of the same animal.
The danger which almost to the close of the fourth act, hangs over Antonio, and which the imagination is almost afraid to approach, would fill the mind with too painful anxiety, if the poet did not also provide for its recreation and diversion. This is effected in an especial manner by the scenes at Portia's country-seat, which transport the spectator into quite another world.
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