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Shakspeare's Iambics are sometimes highly harmonious and full sounding; always varied and suitable to the subject, at one time distinguished by ease and rapidity, at another they move along with ponderous energy. They never fall out of the dialogical character, which may always be traced even in the continued discourses of individuals, excepting when the latter run into the lyrical.
Never read any but what you like, or, in Shakspeare's phrase, "'No profit goes where is no pleasure ta'en; In brief, Sir, study what you most affect." Emerson has a good deal to say about conversation in his Essay on "Clubs," but nothing very notable on the special subject of the Essay.
The elaborate cipher with which Bacon is alleged to have written Shakspeare's plays was mere child's play compared with the infinite revelations which in Karlkammer's belief the Deity left latent in writing the Old Testament from Genesis to Malachi, and in inspiring the Talmud and the holier treasures of Hebrew literature. Nor were these ideas of his own origination.
The narrative brought Mary Pratt back to the side of the bed, and caused her calm eyes to become riveted intently on the speaker's face. As for the deacon, he might have said, with Shakspeare's Wolsey, "Had I but served my God with half the zeal I served my king, he would not, in mine age, Have left me naked to mine enemies."
But it will not follow, from this essential difference in the gloves of Shakspeare's age, that the glover's occupation was more lucrative. Doubtless he sold more costly gloves, and upon each pair had a larger profit, but for that very reason he sold fewer.
There is this distinction, and it is one of the most marked in lyric verse. Compare in English poetry, by way of illustration, the snatches of song in Shakspeare's plays with Shakspeare's sonnets; compare Burns with Gray; compare Jean Ingelow with Browning. Goethe's ballads have an undying popularity; they have been translated, and most of them are familiar to English readers....
It is naturally to be supposed that Dr Hall would attend the sick bed of his father in law, and the discovery of this gentleman's medical diary promised some gratification to our curiosity as to the cause of Shakspeare's death. Unfortunately, it does not commence until the year 1617. It will occur to many readers, that perhaps Homer may furnish the sole exception to this sweeping assertion.
I would readily undertake to do the same for all the pieces of Shakspeare's maturer years, but to do this would require a separate book. Here I am reduced to confine my observations to the tracing his great designs with a rapid pencil; but still I must previously be allowed to deliver my sentiments in a general manner on the subject of his most eminent peculiarities.
It is in the bad taste of James the First's reign; but what a magic does the locality possess! There are stately monuments of forgotten families; but when you have seen Shakspeare's what care we for the rest. All around is Shakspeare's exclusive property. I noticed the monument of his friend John a Combe immortalised as drawing forth a brief satirical notice of four lines.
Her red turban was torn off, and in spite of the hirsutian manipulations to which she had been subjected, her wool appeared, like Shakspeare's spirits, mixed, black, white, and grey. She was seized by the nose and chin, as if she had been a horse, and made to distend her jaws even painfully. She experienced a qualm or two when she thought of what a story her few remaining broken teeth would tell.
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