Lippincott's Magazine of Popular Literature and Science, Volume 11, No. 24, March, 1873Various
History
Lippincott's Magazine of Popular Literature and Science, Volume 11, No. 24, March, 1873
Various
Literature, Modern -- 19th century -- Periodicals; Science -- Periodicals
Sir Thomas was a bore of the first magnitude, and an inveterate
hanger-on about cabinet-ministers and other prominent persons. He was
constantly worrying Lord Burlington and Lord Burlington's servants by
his Paul-pry-like presence. On calling at Burlington House, and being
told that his lordship had gone out, he would desire to be let in to
look at the clock or to play with a monkey which was kept in the hall,
and so at length get into his lordship's room. The servants,
exasperated, preconcerted a scheme to be rid of the nuisance. So, one
day, as soon as the porter opened the gate and found Sir Thomas
outside, he said, "His lordship is gone out, the clock has stopped, the
monkey is dead."[O]
MISS NEILSON.
The story of _La Giulietta_ was told, in the beginning of the sixteenth
century, by Luigi da Porto, a gentleman of Vicenza who had served in the
army, and to whom it was narrated by one of his archers to beguile a
solitary night-march. After passing through various translations the
story was taken by Shakespeare as the groundwork of his wonderful
tragedy, _Romeo and Juliet_, one of his earliest plays, and one of the
most varied in passion and sentiment. Schlegel says of it: "It shines
with the colors of the dawn of morning, but a dawn whose purple clouds
already announce the thunder of a sultry day."
The stormy acting of the elder Kean in _Richard III._--that epitome of
ambition and bloodshed--was said to produce the effect of reading
Shakespeare by flashes of lightning: in _Romeo and Juliet_ the first two
acts are illumined only by the soft moonlight of love, and we are not
startled by the lightning of tragedy until it gleams upon the bloody
blade of Tybalt in the beginning of the third act: then Love and Death
join hands, and move for a time with equal step across the stage.
Finally come the poisoning and self-slaughters, and in the
representation the curtain falls upon a corse-strewn graveyard, where
Death reigns alone. Sad contrast to the lighted ball-room where the
lovers first looked into each other's eyes--to the fair garden that lay
at midnight "all Danae to the stars"--to the moon-silvered balcony from
which Juliet leaned in her loveliness as she exchanged with Romeo her
earliest vows!
Public-domain text, read in full here on John Shaqi.
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