His comparison of Shakspeare with his contemporary
dramatists is obtuse indeed.[1]
[Footnote 1:
See his _Introduction to Massinger, vol_.i. p. 79., in which, amongst other
most extraordinary assertions, Mr. Gifford pronounces that _rhythmical
modulation is not one of Shakspeare's merits!_--ED.]
* * * * *
In Shakspeare one sentence begets the next naturally; the meaning is all
inwoven. He goes on kindling like a meteor through the dark atmosphere;
yet, when the creation in its outline is once perfect, then he seems to
rest from his labour, and to smile upon his work, and tell himself that it
is very good. You see many scenes and parts of scenes which are simply
Shakspeare's, disporting himself in joyous triumph and vigorous fun after a
great achievement of his highest genius.
* * * * *
The old dramatists took great liberties in respect of bringing parties in
scene together, and representing one as not recognizing the other under
some faint disguise. Some of their finest scenes are constructed on this
ground. Shakspeare avails himself of this artifice only twice, I think,--in
Twelfth Night, where the two are with great skill kept apart till the end
of the play; and in the Comedy of Errors, which is a pure farce, and should
be so considered.
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