A Study of Shakespeare by Algernon Charles Swinburne
page 24 of 224 (10%)
page 24 of 224 (10%)
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of meeting and the sadness of parting love; but between and behind them
come scenes of more fierce emotion, full of surprise, of violence, of unrest; and with these the poet is not yet (if I dare say so) quite strong enough to deal. Apollo has not yet put on the sinews of Hercules. At a later date we may fancy or may find that when the Herculean muscle is full-grown the voice in him which was as the voice of Apollo is for a passing moment impaired. In _Measure for Measure_, where the adult and gigantic god has grappled with the greatest and most terrible of energies and of passions, we miss the music of a younger note that rang through _Romeo and Juliet_; but before the end this too revives, as pure, as sweet, as fresh, but richer now and deeper than its first clear notes of the morning, in the heavenly harmony of _Cymbeline_ and _The Tempest_. The same effusion or effervescence of words is perceptible in _King Richard II_. as in the greater (and the less good) part of _Romeo and Juliet_; and not less perceptible is the perpetual inclination of the poet to revert for help to rhyme, to hark back in search of support towards the half-forsaken habits of his poetic nonage. Feeling his foothold insecure on the hard and high ascent of the steeps of rhymeless verse, he stops and slips back ever and anon towards the smooth and marshy meadow whence he has hardly begun to climb. Any student who should wish to examine the conditions of the struggle at its height may be content to analyse the first act of this the first historical play of Shakespeare. As the tragedy moves onward, and the style gathers strength while the action gathers speed,--as (to borrow the phrase so admirably applied by Coleridge to Dryden) the poet's chariot-wheels get hot by driving fast,--the temptation of rhyme grows weaker, and the hand grows firmer which before lacked strength to wave it off. The one thing wholly or greatly admirable in this play is the exposition of the somewhat pitiful but not unpitiable character of King Richard. Among the scenes |
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