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?schylus is above all things the poet of righteousness. "But in any wise, I say unto thee, revere thou the altar of righteousness": this is the crowning admonition of his doctrine, as its crowning prospect is the reconciliation or atonement of the principle of retribution with the principle of redemption, of the powers of the mystery of darkness with the coeternal forces of the spirit of wisdom, of the lord of inspiration and of light. The doctrine of Shakespeare, where it is not vaguer, is darker in its implication of injustice, in its acceptance of accident, than the impression of the doctrine of ?schylus. Fate, irreversible and inscrutable, is the only force of which we feel the impact, of which we trace the sign, in the upshot of Othello or King Lear. The last step into the darkness remained to be taken by "the most tragic" of all English poets. With Shakespeare — and assuredly not with ?schylus — righteousness itself seems subject and subordinate to the masterdom of fate: but fate itself, in the tragic world of Webster, seems merely the servant or the synonym of chance. The two chief agents in his two great tragedies pass away — the phrase was, perhaps, unconsciously repeated — "in a mist": perplexed, indomitable, defiant of hope and fear bitter and sceptical and bloody in penitence or impenitence alike. And the mist which encompasses the departing spirits of these moody and mocking men of blood seems equally to involve the lives of their chastisers and their victims. Blind accident and blundering mishap — "such a mistake", says one of the criminals, "as I have often seen in a play" — are the steersmen of their fortunes and the doomsmen of their deeds. The effect of this method or the result of this view, whether adopted for dramatic objects or ingrained in the writer's temperament, is equally fit for pure tragedy and unfit for any form of drama not purely tragic in evolution and event.

 

Algernon Charles Swinburne

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?schylus is above all things the poet of righteousness. "But in any wise, I say unto thee, revere thou the altar of righteousness": this is the crowning admonition of his doctrine, as its crowning prospect is the reconciliation or atonement of the principle of retribution with the principle of redemption, of the powers of the mystery of darkness with the coeternal forces of the spirit of wisdom, of the lord of inspiration and of light. The doctrine of Shakespeare, where it is not vaguer, is darker in its implication of injustice, in its acceptance of accident, than the impression of the doctrine of ?schylus. Fate, irreversible and inscrutable, is the only force of which we feel the impact, of which we trace the sign, in the upshot of Othello or King Lear. The last step into the darkness remained to be taken by "the most tragic" of all English poets. With Shakespeare — and assuredly not with ?schylus — righteousness itself seems subject and subordinate to the masterdom of fate: but fate itself, in the tragic world of Webster, seems merely the servant or the synonym of chance.

 

William Shakespeare

 

?schylus is above all things the poet of righteousness. "But in any wise, I say unto thee, revere thou the altar of righteousness": this is the crowning admonition of his doctrine, as its crowning prospect is the reconciliation or atonement of the principle of retribution with the principle of redemption, of the powers of the mystery of darkness with the coeternal forces of the spirit of wisdom, of the lord of inspiration and of light.

 

Aeschylus

 

I expect eternal life, not as a reward of merit, but a pure act of bounty. Detesting myself in every view I can take, I fly to the righteousness and atonement of my great Redeemer for pardon and salvation; this is my only consolation and hope. "Enter not into judgment, O Lord, with Thy servant; for in Thy sight shall no flesh be justified."

 

Elizabeth Rowe

 

It is an incontestable fact that the word "Jew" did not come into existence until the year 1775. Prior to 1775 the word "Jew" did not exist in any language. The word "Jew" was introduced into the English for the first time in the 18th century when Sheridan used it in his play "The Rivals", II,i, "She shall have a skin like a mummy, and the beard of a Jew". Prior to this use of the word "Jew" in the English language by Sheridan in 1775 the word "Jew" had not become a word in the English language. Shakespeare never saw the word "Jew" as you will see. Shakespeare never used the word "Jew" in any of his works, the common general belief to the contrary notwithstanding. In his "Merchant of Venice", V.III.i.61, Shakespeare wrote as follows: "what is the reason? I am a Iewe; hath not a Iewe eyes?".

 

Benjamin H. Freedman

 

There was no need that there should everywhere exist many bodies, and many spirits like Jesus, in order that the whole world of men might be enlightened by the Word of God. For the one Word was enough, having arisen as the "Sun of righteousness (Malachi chpt. 3)," to send forth from Judea His coming rays into the soul of all who were willing to receive Him. But if any one desires to see many bodies filled with a divine Spirit, similar to the one Christ, ministering to the salvation of men everywhere, let him take note of those who teach the gospel of Jesus in all lands in soundness of doctrine and uprightness of life, and who are themselves termed "christs" by the Holy Scriptures, in the passage, "Touch not mine anointed, and do not my prophets any harm." For as we have heard that Antichrist cometh, and yet have learned that there are many antichrists in the world, in the same way, knowing that Christ has come, we see that, owing to Him, there are many christs in the world, who, like Him, have loved righteousness and hated iniquity, and therefore God, the God of Christ, anointed them also with the "oil of gladness." But inasmuch as He loved righteousness and hated iniquity above those who were His partners, He also obtained the first-fruits of His anointing, and, if we must so term it, the entire unction of the oil of gladness ; while they who were His partners shared also in His unction, in proportion to their individual capacity.

 

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