--Unable to contend any longer with 'the _fretful_ element'--unable to '_outscorn_' any longer 'the to and fro conflicting wind and rain'--weary of struggling with 'the _impetuous_ blasts,' that in their 'eyeless _rage_' and '_fury_' care no more for age and reverence than his _daughters_ do--that seize his white hairs, and make nothing of them--'exposed to _feel_ what _wretches_ feel'--he finds at last, with surprise, that art--the wretch's art--that can make vile things _precious_. No longer clamoring for 'the additions of a king,' but thankful for the basest means of shelter from the elements, glad to avail himself of the rudest structure with which art '_accommodates_' man to nature, (for that is the word of this philosophy, where it is first proposed)--glad to divide with his meanest subject that shelter which the outcast seeks on such a night--ready to creep with him, under it, side by side--'fain to hovel with _swine_ and rogues forlorn, in short and musty straw'--surely we have reached a point at last where the _action_ of the piece itself--the mere 'dumb show' of it--becomes luminous, and hardly needs the player's eloquence to tell us what it means. Surely this is a little like 'the language' of _Periander's_ message, when he bid the messenger observe and _report what he saw him do_. It is very important to note that ideas may be conveyed in this way as well as by words, the author of the Advancement of Learning remarks, in speaking of the tradition of the principal and supreme sciences. He takes pains to notice, also, that a representation, by means of these 'transient hieroglyphics,' is much more moving to the sensibilities, and leaves a more vivid and durable impression on the memory, than the most eloquent statement in mere words. 'What is _sensible_ always strikes the memory more strongly, and sooner impresses itself, than what is _intellectual_. Thus the memory of _brutes_ is excited by sensible, but not by intellectual things;' and thus, also, he proposes to impress that _class_ which Coriolanus speaks of, 'whose eyes are more learned than their ears,' to whom 'action is eloquence.' Here we have the advantage of the combination, for there is no part of the dumb show, but has its word of scientific comment and interpretation. 'Art cold [to the Fool]? I am cold myself. _Where is this_ STRAW, _my fellow_? The art of our necessities is strange, That can make vile things _precious_. Come, _your hovel_. Come, bring us to this _hovel_.' For this is what that wild tragic poetic resistance and defiance comes to--this is what the 'unaccommodated man' comes to, though it is the highest person in the state, stripped of his ceremonies and artificial appliances, on whom the experiment is tried. 'Where is this straw, my fellow? Art _cold_? I am cold _myself_. Come, your hovel. Come, bring us to this _hovel_.'