There is the epic imagination, the
perfection of which is in Milton; and the dramatic, of which Shakspeare is
the absolute master. The first gives unity by throwing back into the
distance; as after the magnificent approach of the Messiah to battle[2],
the poet, by one touch from himself--
--"far off their coming shone!"--
makes the whole one image.
And so at the conclusion of the description of the appearance of the
entranced angels, in which every sort of image from all the regions of
earth and air is introduced to diversify and illustrate,--the reader is
brought back to the single image by--
"He call'd so loud, that all the hollow deep
Of Hell resounded."[3]
The dramatic imagination does not throw back, but brings close; it stamps
all nature with one, and that its own, meaning, as in Lear throughout.
[Footnote 1: Part II. c. 2. v.29.]
[Footnote 2:
----"Forth rush'd with whirlwind sound
The chariot of Paternal Deity,
Flashing thick flames, wheel within wheel undrawn,
Itself instinct with spirit, but convoy'd
By four cherubic shapes; four faces each
Had wonderous; as with stars their bodies all
And wings were set with eyes; with eyes the wheels
Of beryl, and careering fires between;
Over their heads a crystal firmament,
Whereon a sapphire throne, inlaid with pure
Amber, and colours of the showery arch.
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