Or women's sake, by whom we men are men;
Let us once lose our oaths, to find ourselves,
Or else we lose ourselves to keep our oaths:
It is religion to be thus forsworn:
For charity itself fulfils the law:
And who can sever love from charity?”—
This is quite a study;—sometimes you see this youthful god of poetry connecting disparate thoughts purely by means of resemblances in the words expressing them,—a thing in character in lighter comedy, especially of that kind in which Shakespeare delights, namely, the purposed display of wit, though sometimes too, disfiguring his graver scenes;—but more often you may see him doubling the natural connection or order of logical consequence in the thoughts by the introduction of an artificial and sought for resemblance in the words, as, for instance, in the third line of the play,—
“And then grace us in the disgrace of death;”—
this being a figure often having its force and propriety, as justified by the law of passion, which, [pg 097] inducing in the mind an unusual activity, seeks for means to waste its superfluity,—when in the highest degree—in lyric repetitions and sublime tautology—“At her feet he bowed, he fell, he lay down; at her feet he bowed, he fell; where he bowed, there he fell down dead,”—and, in lower degrees, in making the words themselves the subjects and materials of that surplus action, and for the same cause that agitates our limbs, and forces our very gestures into a tempest in states of high excitement.
The mere style of narration in Love's Labour's Lost, like that of Ægeon in the first scene of the Comedy of Errors, and of the Captain in the second scene of Macbeth, seems imitated with its defects and its beauties from Sir Philip Sidney; whose Arcadia, though not then published, was already well known in manuscript copies, and could hardly have escaped the notice and admiration of Shakespeare as the friend and client of the Earl of Southampton. The chief defect consists in the parentheses and parenthetic thoughts and descriptions, suited neither to the passion of the speaker, nor the purpose of the person to whom the information is to be given, but manifestly betraying the author himself,—not by way of continuous undersong, but—palpably, and so as to show themselves addressed to the general reader. However, it is not unimportant to notice how strong a presumption the diction and allusions of this play afford, that, though Shakespeare's acquirements in the dead languages might not be such as we suppose in a learned education, his habits had, nevertheless, been scholastic, and those of a student. For a young author's first work [pg 098] almost always bespeaks his recent pursuits, and his first observations of life are either drawn from the immediate employments of his youth, and from the characters and images most deeply impressed on his mind in the situations in which those employments had placed him;—or else they are fixed on such objects and occurrences in the world, as are easily connected with, and seem to bear upon, his studies and the hitherto exclusive subjects of his meditation. Just as Ben Jonson, who applied himself to the drama after having served in Flanders, fills his earliest plays with true or pretended soldiers, the wrongs and neglects of the former, and the absurd boasts and knavery of their counterfeits. So Lessing's first comedies are placed in the universities, and consist of events and characters conceivable in an academic life.