Call this a lightning?—--O, my love, my wife!” &c.
Here, here, is the master example how beauty can at once increase and modify passion!
Ib. Last scene.
How beautiful is the close! The spring and the winter meet;—winter assumes the character of spring, and spring the sadness of winter.
Shakespeare's English Historical Plays.
The first form of poetry is the epic, the essence of which may be stated as the successive in events and characters. This must be distinguished from narration, in which there must always be a narrator, from whom the objects represented receive a colouring and a manner;—whereas in the epic, as in the so-called poems of Homer, the whole is completely objective, and the representation is a pure reflection. The next form into which poetry passed was the dramatic;—both forms having a common basis with a certain difference, and that difference not consisting in the dialogue alone. Both are founded on the relation of providence to the human will; and this relation is the universal element, expressed under different points of view according to the difference of religion, and the moral and intellectual cultivation of different nations. In the epic poem fate is represented as overruling the will, and making it instrumental to the accomplishment of its designs:—
... Διὸς τελείετο βονλή
In the drama, the will is exhibited as struggling with fate, a great and beautiful instance and illustration of which is the Prometheus of Æschylus; and the deepest effect is produced when the fate [pg 156] is represented as a higher and intelligent will, and the opposition of the individual as springing from a defect.