And in the most exact Regard fupport
The Worships of their Names ! Ő most small

Fault !

How ugly didft thou in CORDELIA fhom?
Which like an Engine wrench'd my Frame of
Nature
(Love,
From the fixt Place, drew from my Heart all
And added to the Gall. O LEAR! LEAR!
LEAR!

Beat at this Gate that let thy Folly in,

And thy dear Judgment out.

And again immediately.

Hear! Nature bear! dear Goddefs bear!
Sufpend thy Purpose if thou dost intend
To make this Creature fruitful,
Into her Womb convey Sterility;
Dry up in her the Organs of Increase,
And from her Dewgate Body never Spring
A Babe to honour her. If he must teem,
Create her Child of Spleen, that it may givë,
And be a thwart, difnatur'd Torment, like her:
Let it ftamp Wrinkles in her Brow of Youth
With cadent Tears fret Channels in her Cheeks,
Turn all her Mother's Pains and Benefits
To Laughter and Contempt; that she may feel
How Sharper, than a Serpent's Tooth it is
To bave a thanklefs Child.

Both these Speeches, with that of Hotspur must be fpoke with an elevated Tone and enra

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ged

ged Voice, and the Accents of a Man all on Fire, and in a Fury next to Madness. The fame may be faid of Othello in the following Speech.

OTH. Villain! Be fure thou prove my Love a
Whore;

Be fure of it; give me the Ocular Proof,
Or by the Worth of my eternal Soul,
Thou hadst better have been born a Dog,
Than answer my wak'd Wrath

If thou doft flander her, or torture me,
Never pray more; abandon all Remorfe
On Horrors Head, Horrors accumulate

Do Deeds to make Heav'n weep, all Earth amaz'd,

For nothing canft thou to Damnation add
Greater than that.

Old Capulet in Romeo and Juliet.

How now!

How now! chop Logic? What's this?
Proud! and Ithank you! and I thank you not!
Thank me no Thankings; nor proud me no
prouds;

But fettle your fine Joints 'gainst Thursday

To

next,

go with Paris to St. Peter's Church, Or I will drag thee in a Hurdle thither.

Green-fickness Carrion; out you Bag

gage;

Out

you

Tallow-Face.

And

And before in the fame Play.

Old CAP. He shall be endur'd.

What good Man Boy-I fay he fhall. Go to----
Am I the Mafter here or you? Go to

You'll not endure him! God fhall mend my Soul,
You'll make a Mutiny among the Guests!
You'll fet cock-a-boop! you'll be the Man!

'Tis plain from the Expreffions between short Sentences in both these Speeches, that the Actor fhould speak puffing and blowing, and take his Breath at every Point, as if his Paffion had choak'd up his Delivery, and he could not for Anger and Choler utter more Words together. The fame may be faid of the first Speech of Hot fpur's.

I cannot but here give a Description of a valiant Anger, or the Heat of a noble Warrior in Fight, out of Shakespear's Harry V. because it gives a lively Image of all the Looks and Actions belonging to it.

HEN. But when the Blaft of War blows in our Ears,

Then imitate the Action of the Tyger.

Stiffen the Sinews, fummon up the Blood;
Difguife fair Nature with hard-favour'd Rage;
Then lend the Eye a terrible Afpect;

Let it pry through the Portage of the Head,
Like the Brafs Cannon let the Brow o'erwhelm it,

As fearfully as does a galled Rock
O'erbang and jutty his confounded Bafe,
Swell'd with the wild and wasteful Ocean.
Now Set the Teeth, and ftretch the Noftrils wide,
Hold hard the Breath, and bend up ev'ry Spirit
To its full Height..

If a Player would ftudy this Speech, he would find fuch Looks and Motions would infpire him with more Life on the Representation of fuch a Character, than he would otherwise feel.

To move Compaffion, the Speaker must exprefs himself with a foft, fubmiffive and pitiful Voice, as Arthur in King John, when Hubert fhows him the King's Order for burning out his Eyes with a hot Iron,

ARTH. Have you the Heart? When your Head did but ake,

I knit my Handkerchief about your Brows, (The beft I had, a Princess wrought it me) And I did never afk it you again;

your

And with
my Hand at Midnight held your Head,
And like the watchful Minutes to the Hour,
Still and anon chear'd up the heavy Time,
Saying, What lack you? and where lies
Grief?
Ob! what good Love may I perform for you?
Many a poor Man's Son would have lain fill,
And not have spoke a loving Word to you,
But you at your fick Service had a Prince, &c.

And

And Anthony in Julius Cafar, in the Beginning of his Speech on Cafar's Death.

ANT. Friends, Romans, Country-men, lend me your Ears,

I come to bury CESAR, not to praise him.
The Evil, that Men do, lives after them,
The Good is oft interred with their Bones.
So let it be with CESAR. The noble BRUTUS
Has told you, CESAR was ambitious.
If it were fo, it was a grievous Fault,
And grievously has CESAR anfwer'd it.
Here under Leave of BRUTUS and the reft,
(For BRUTUS is an honourable Man,
So they are all, all honourable Men)
Come I to Speak in CASAR's Funeral.
He was my Friend, faithful and just to me;
But BRUTUS fays be was ambitious,
And BRUTUS is an honourable Man, &c,

'Tis plain, that Arthur spoke (if it were well acted) with a low Tone, and flender and humble Accents, pleading for his Life; turning his Voice on fuch Tones, as were fittest to incline the Affections. The fame may almost be faid of Anthony's Speech, where he pleaded to the People to move their Pity firft, and then to raise a stronger Paffion, nay, even their Rage; endeavouring firft to melt them with a low and fubmiffive Voice, and yet not without Paffion, but that Paffion is mingled with a great deal of Ten

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