e characters, and
their want of conformity with time and space, is further increased by
those coarse embellishments which are continually added by Shakespeare
and intended to appear particularly touching. The extraordinary storm
during which King Lear roams about the heath, or the grass which for
some reason he puts on his head--like Ophelia in "Hamlet"--or Edgar's
attire, or the fool's speeches, or the appearance of the helmeted
horseman, Edgar--all these effects not only fail to enhance the
impression, but produce an opposite effect. "_Man sieht die Absicht
und man wird verstimmt_," as Goethe says. It often happens that even
during these obviously intentional efforts after effect, as, for
instance, the dragging out by the legs of half a dozen corpses, with
which all Shakespeare's tragedies terminate, instead of feeling fear
and pity, one is tempted rather to laugh.

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