It would be well if Shakspeare's continual inclination to thought gave rise to no worse faults than occasional obscurity. It was not to be hoped that it should not produce others. His tone of thinking could not be always high and serious; and even when it flowed in a lofty channel, its uninterrupted stream could not always be pure. Shakspere's conceits and quibbles.His judgment often fails to perform its part, and he is guilty of conceit and quibble, not merely in his comic vein, but in his most deeply tragical situations. He has indeed one powerful excuse; he had universal example in both respects to justify or betray him. But he has likewise another plea, that his constant activity of mind, and the wideness of its province, exposed him to pe[22:1]culiar risks. A mind always in action must sometimes act wrongly; and the constant exercise of the creative powers of the mind dulls the edge of the corrective. It was not strange that he who was unwearied in tracing the manifestations of that spirit of likeness which pervades nature, should often mistake a resemblance in name for a community of essence,—that he whose mind was sensible to the most delicate differences, should sometimes fancy he saw distinction where there was none;—it was not strange, however much to be regretted, that he who left the smooth green slopes of fancy to clamber among the craggy steeps of thought, should often stumble in his dizzy track, either in looking up to the perilous heights above, or downwards on the morning landscape beneath him. Shakspere's faults. While the most glaring errors of the tropical Euphues are strained allegorical conceits, Shakspeare's fault is oftener the devising of subtle and unreal distinctions, or the ringing of fantastical changes upon words. Lyly's faults.
Lily's error was one merely of taste; Shakspeare's was one of the judgment, and the heavier of the two, but still the error of a stronger mind than the other; for the judgment cannot act till the understanding has given it materials to work upon, and those fanciful writers who do not reflect at all, are in no danger of reflecting wrongly. Shakspere's evil genius triumphs in his puns. Shakspeare's evil genius triumphs when it tempts him to a pun—it enjoys a less complete but more frequent victory in suggesting an antithesis; but it often happens that this dangerous turn of mind does not carry him so far as to be of evil consequence. It aids its quickness and directness of mental view, in giving to his style a pointed epigrammatic terseness which is quite its own, and a frequent weight and effect which no other equals. Where, however, this antithetic tendency is allowed to approach the serious scenes, it throws over them an icy air which is very injurious, while it often gives the comic ones a ponderousness which is altogether singular, and but imperfectly accordant with the nature of comic dialogue. Characteristics of his wit. The arrows of Shakspeare's wit are not the lightly feathered shafts which Fletcher discharges, and as little are they the iron-headed bolts which fill the quiver of Jonson; but they are weapons forged from materials unknown to the others, and in an armoury to which they had no access; their execution is [23:1]resistless when they reach their aim, but they are covered with a golden massiveness of decoration which sometimes impedes the swiftness of their flight. But whether the effect of these peculiarities of Shakspeare be good or evil, their use in helping an identification of his manner is very great. Contrast with Fletcher's.Nothing can be more directly opposite to them than the slow elegance and want of pointedness which we find in Fletcher, who is not free from conceits, but does not express them with Shakspeare's hard quaintness, while he is comparatively quite guiltless of plays on words. The following instances are only a few among many in the present drama, which seem to be perfectly in Shakspeare's manner, and to most of which Fletcher's works could certainly furnish no parallel, either in subject or in expression.
Passages by Shakspere, not Fletcher.
Oh, my petition was
Set down in ice, which, by hot grief uncan|died,
Melts into tears; so sorrow, wanting form,
Is pressed with deeper matter.—Act I. scene i.
Theseus speaks thus of the Kinsmen lying before him in the field of battle desperately wounded:—
Shakspere metaphors.
Rather than have them
Freed of this plight, and in their morning state,
Sound and at liberty, I would them dead:
But forty thousand fold we had rather have | them[24:1]
Prisoners to us than Death. Bear them speedi|ly
From our kind air, to them unkind, and min|ister
What man to man may do.—Act I. scene iv.
A lady hunting is addressed in this strain:
Oh jewel
O' the wood, O' the world!—Act III. scene i.
In the same scene one knight says to another,—