epithet paints a whole scene, or throws us back whole years in the
history of the person represented. So (as it has been ingeniously
remarked) when Prospero describes himself as left alone in the boat with
his daughter, the epithet which he applies to her, "Me and thy _crying_
self," flings the imagination instantly back from the grown woman to the
helpless condition of infancy, and places the first and most trying
scene of his misfortunes before us, with all that he must have suffered
in the interval. How well the silent anguish of Macduff is conveyed to
the reader, by the friendly expostulation of Malcolm--"What! man,
ne'er pull your hat upon your brows!" Again, Hamlet, in the scene with
Rosencrans and Guildenstern, somewhat abruptly concludes his fine
soliloquy on life by saying, "Man delights not me, nor woman neither,
though by your smiling you seem to say so." Which is explained by their
answer--"My lord, we had no such stuff in our thoughts. But we smiled
to think, if you delight not in man, what lenten entertainment the
players shall receive from you, whom we met on the way":--as if while
Hamlet was making this speech, his two old schoolfellows from Wittenberg
had been really standing by, and he had seen them smiling by stealth, at
the idea of the players crossing their minds. It is not "a combination
and a form" of words, a set speech or two, a preconcerted theory of a
character, that will do this: but all the persons concerned must have
been present in the poet's imagination, as at a kind of rehearsal; and
whatever would have passed through their minds on the occasion, and have
been observed by others, passed through his, and is made known to the
reader.--I may add in passing, that Shakspeare always gives the best
directions for the costume and carriage of his heroes. Thus to take one
example, Ophelia gives the following account of Hamlet; and as Ophelia
had seen Hamlet, I should think her word ought to be taken against that
of any modern authority.