Summary

Portrait of Charles Lamb Charles Lamb The Works of Charles and Mary Lamb…

The hero of farce is as little affected with impulses from without, as the retired Prince of Tragedians. There is something solid, sterling, almost adamantine, in the building up of his most grotesque characters. When he fixes his wonder-working face in any of its most amazing varieties, it looks as if the picture were carved out from a rock by Nature in a sportive vein, and might last for ever. It is like what we can imagine a mask of the old Grecian Comedy to have been, only that it lives, and breathes, and changes. His most fantastical gestures are the grand ideal of farce.
Source: Gutenberg

Portrait of Charles Lamb Charles Lamb The Works of Charles and Mary Lamb…

But that Light from Heaven was extinct in his dark bosom.
Nothing that is great, nothing that is amiable, existed for this unhappy man. He feared, he envied, he suspected; but he never loved. The sublime and beautiful in nature, the excellent and becoming in morals, were things placed beyond the capacity of his sensations. He loved not poetry—nor ever took a lonely walk to meditate—never beheld virtue, which he did not try to disbelieve, or female beauty and innocence, which he did not lust to contaminate.
A sneer was perpetually upon his face, and malice grinning at his heart.
Source: Gutenberg

Portrait of Charles Lamb Charles Lamb The Works of Charles and Mary Lamb…

She is, in truth, no ordinary tragedian. Her Yarico is the most intense piece of acting which I ever witnessed, the most heart-rending spectacle. To see her leaning upon that wretched reed, her lover—the very exhibition of whose character would be a moral offence, but for her clinging and noble credulity—to see her lean upon that flint, and by the strong workings of passion imagine it a god—is one of the most afflicting lessons of the yearnings of the human heart and its sad mistakes, that ever was read upon a stage. The whole performance is every where African, fervid, glowing.
Source: Gutenberg

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