But, Sir,
By my life, I vow to take assurance from you,
That right-hand never more shall strike my son,
...
Chop his hand off!
In this (as, indeed, in all other respects; but most in this) it is that Shakspeare is so incomparably superior to Fletcher and his friend,—in judgment! What can be conceived more unnatural and motiveless than this brutal resolve? How is it possible to feel the least interest in Albertus afterwards? or in Cesario after his conduct?
THE TWO NOBLE KINSMEN.
On comparing the prison scene of Palamon and Arcite, Act ii. sc. 2, with the dialogue between the same speakers, Act i. sc. 2, I can scarcely retain a doubt as to the first act's having been written by Shakspeare. Assuredly it was not written by B. and F. I hold Jonson more probable than either of these two.
The main presumption, however, for Shakspeare's share in this play rests on a point, to which the sturdy critics of this edition (and indeed all before them) were blind,—that is, the construction of the blank verse, which proves beyond all doubt an intentional imitation, if not the proper hand, of Shakspeare. Now, whatever improbability there is in the former, (which supposes Fletcher conscious of the inferiority, the too poematic minus-dramatic nature, of his versification, and of which there is neither proof, nor likelihood,) adds so much to the probability of the latter. On the other hand, the harshness of many of these very passages, a harshness unrelieved by any lyrical inter-breathings, and still more the want of profundity in the thoughts, keep me from an absolute decision.
Act i. sc. 3. Emilia's speech:—
—Since his depart, his sports,
Tho' craving seriousness and skill, &c.
I conjecture 'imports,' that is, duties or offices of importance. The flow of the versification in this speech seems to demand the trochaic ending—/u/; while the text blends jingle and hisses to the annoyance of less sensitive ears than Fletcher's—not to say, Shakspeare's.