In the scene in Bedlam, which terminates the _Rake's Progress_, we find the same assortment of the ludicrous with the terrible. Here is desperate madness, the overturning of originally strong thinking faculties, at which we shudder, as we contemplate the duration and pressure of affliction which it must have asked to destroy such a building;--and here is the gradual hurtless lapse into idiocy, of faculties, which at their best of times never having been strong, we look upon the consummation of their decay with no more of pity than is consistent with a smile. The mad taylor, the poor driveller that has gone out of his wits (and truly he appears to have had no great journey to go to get past their confines) for the love of _Charming Betty Careless_,--these half-laughable, scarce-pitiable objects take off from the horror which the principal figure would of itself raise, at the same time that they assist the feeling of the scene by contributing to the general notion of its subject:-- Madness, thou chaos of the brain, What art, that pleasure giv'st, and pain? Tyranny of Fancy's reign! Mechanic Fancy, that can build Vast labyrinths and mazes wild, With rule disjointed, shapeless measure, Fill'd with horror, fill'd with pleasure! Shapes of horror, that would even Cast doubts of mercy upon heaven. Shapes of pleasure, that, but seen, Would split the shaking sides of spleen.[7] [7] Lines inscribed under the plate. Is it carrying the spirit of comparison to excess to remark, that in the poor kneeling weeping female, who accompanies her seducer in his sad decay, there is something analogous to Kent, or Caius, as he delights rather to be called, in _Lear_,--the noblest pattern of virtue which even Shakspeare has conceived,--who follows his royal master in banishment, that had pronounced _his_ banishment, and forgetful at once of his wrongs and dignities, taking on himself the disguise of a menial, retains his fidelity to the figure, his loyalty to the carcass, the shadow, the shell and empty husk of Lear?