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310 with a late reading of Richard III. I love that play; almost more than ambition, perhaps, the keynote to its hero-villain's character is to be sought in his tremendous energy and intellectual activity. These are so great that they, to a large extent, guard him against the intolerable anguish of remorse—that constant attendant on the undiseased evil-doer—so that he fares better than Macbeth, who is inferior to Richard in both these respects, and whose more poetic and sensitive nature is much against him. Not that Macbeth is not an energetic and able man, but he is only normally so, while Richard's working qualities are abnormal. His energy, especially, is more like that of a Napoleon or Julius Cæsar. It is such a mighty and rapidly-moving stream, that, hurried along by it, he has no leisure to repine. It floats his crimes easily, one may say, making little dancing boats of them, whereas those of Macbeth are like huge vessels in a stream that has hardly volume enough to bear them. Is it not, in fact, almost impossible to feel mental depression, so long as the brain is very actively employed? It is in the calms and lulls of this activity that disagreeable reflections force themselves upon us, just as rain that has been kept from falling by a violent wind, falls as soon as it subsides. Accordingly, though Richard's robuster nature goes almost scot free by day—at least, for a considerable time—it becomes the prey of conscience by night, when the huge energy of his disposition is in abeyance; when, in Tennyson's language, "to sleep he gives his