The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1879-11-24

The late Professor Ross Of Bethany Col
lege some years ago delivered an able ad-
dress before the two literary societies Of
that institution, upon the study Of ancient
and modern literature, throughout which
parallel was presented between the
finest creations OF the great masters in an
Cient and modern story. Prominent in
memory is his alusion, in language we
would like to be able 10 recall, to the story
OF the supreme sorrows and the sublime
madness OF Lear, more moving, he said,
than the woes Of Cassandra, and more sub.
lime than the madness Of 0restes. And
yet the story OF Priam and Agammenon is
hardly more mythical than that Of Lear,
which belongs equally to the cloudy re-
gtons Of traditional story, II we may be-
lieve the ancient chroniclers, who place the
reign about eight hundred years before
Christ, The scenes Of the wars and wan
behring's in the Iliad and Odyssey are geo.
graphically more consistent and correct,
as modern research has shown US, than
many OF those scenes, correct only in
name, wherein Shakespearean heroes and
heroines enact their immortal deeds in
tragedy and comedy. The habits,
manners and dress Of the Greeks
are more familiar to US than those
of the ancient Britons, and can be pre-.
scented to us on the stage with at least more
satisfaction and less perplexity to the
average Imagination. In the play Of King
Lear, for instance, as in others OF the
shakesperean drama, anachronisms in
time, place, and costume abound. In the
latter respect, indeed, when the mad
Edgar is presented to us, simply attired in
tattered blanket and a wisp OF straw
about his waist, We feel that we are
realizing about the only true conception
there is as to the dress OF the ancient
Briton. But in the hands OF the master,
these are subordinate triles, and We feel
what Prof. Ross eloquently said, that the
woes OF the mad Lear present to US
spectacle more moving to the heart, more
subduing to the imagination. than the
stupendous crimes and sufferings OF heroes
and demigods, handed down to us
through the dazzling splendors Of the
songs Of Homer
In the tragedy OF Lear there is from the
outset superlative majestic movement,
sublimity of emotions, which leave no
room for the play Of petty passions, or for
pigmy natures. 1t Is crowded with strong
ly drawn characters, some Of them only
less noble than the majestic figure which
is the centre Of such a circle. Their sor.
rows, were it not for his own, would quite
absorb US and carry US away with pity,
but these, like themselves, are subordi-
nate 10 him who wears the very crown
and majesty Of woe.
In the beginning Lear seems to be weak
ness itself, and the spectacle OF the old
king reslgning his crown and kingdom 10
his daughters does indeed appear incredl-
BILE madness and childish folly to the noble,
discerning-Kent. But he parts with them
as with baubles Of which he is tired, and
for which he has mover cared too much.
With the grand carelessness OF kingly
nature, helays down the ensigns Of royalty,
full OF the noble confidence that comes Of
consciousness Of Unborn royalty, which
does not need the sceptre and crown, and
he wishes only to lean his fond old heart
upon the love Of his daughters, who are
to cherish and comfort his age. This is
his only crime-the rash impulse OF
somewhat wiliul but. noblenature, Joined to |
the doting fondness Of fatherly Affection
q combination most natural in the old age
Of such . character.
But the discrowned Lear is from that
more than ever king. Step by !