His too the power to laugh out full and clear, Along the silent, shadowy paths of love Stern spirit through the worlds below, above, Unsmiling strode, to tell their tidings here. Poems. 1886, vol. ii. pp. 273-4 THOMAS SPENCER BAYNES, 1886 SHAKESPEARE'S work alone can be said to possess the organic strength and infinite variety, the throbbing fulness, vital complexity, and breathing truth of Nature herself. In points of artistic resource and technical ability—such as copious and expressive diction, freshness and pregnancy of verbal combination, richly modulated verse, and structural skill in the handling of incident and action-Shakespeare's supremacy is indeed sufficiently assured. But, after all, it is of course in the spirit and substance of his work, his power of piercing to the hidden centres of character, of touching the deepest springs of impulse and passion, out of which are the issues of life, and of evolving those issues dramatically with a flawless strength, subtlety, and truth, which raises him so immensely above and beyond not only the best of the playwrights who went before him, but the whole line of illustrious dramatists that came after him. It is Shakespeare's unique distinction that he has an absolute command over all the complexities of thought and feeling that prompt to action and bring out the dividing lines of character. He sweeps with the hand of a master the whole gamut of human experience, from the lowest note to the very top of its compass, from the sportive childish treble of Mamilius, and the pleading boyish tones of Prince Arthur, up to the spectre-haunted terrors of Macbeth, the tropical passion of Othello, the agonised sense and tortured spirit of Hamlet, the sustained elemental grandeur, the Titanic force, the utterly tragical pathos of Lear. Encyclopædia Britannica. 9th edition. Art. GERALD MASSEY, 1888 OUR Prince of Peace in glory hath gone, To make his conquest of the World. For him no Martyr-fires have blazed, To make the Victor's pathway red. And for all time he wears the Crown Of lasting, limitless renown: He reigns, whatever Monarchs fall; His Throne is in the heart of all. The Secret Drama of Shakespeare's Sonnets. 1888. WALT WHITMAN, 1890 THE inward and outward characteristics of Shakespeare are his vast and rich variety of persons and themes, with his wondrous delineation of each and all-not only limitless funds of verbal and pictorial resource, but great excess, superfœtation-mannerism, like a fine aristocratic perfume, holding a touch of musk (Euphues, his mark)—with boundless sumptuousness and adornment, real velvet and gems, not shoddy nor paste-but a good deal of bombast and fustian (certainly some terrific mouthing in Shakespeare!). Superb and inimitable as all is, it is mostly an objective and physiological kind of power and beauty the soul finds in Shakespeare-a style supremely grand of the sort, but in my opinion stopping short of the grandest sort, at any rate for fulfilling and satisfying modern and scientific and democratic American purposes. Think, not of growths as forests primeval, or Yellowstone geysers, or Colorado ravines, but of costly marble palaces, and palace rooms, and the noblest fixings and furniture, and noble owners and occupants to correspond-think of carefully built gardens from the beautiful but sophisticated gardening art at its best, with walks and bowers and artificial lakes, and appropriate statue groups, and the finest cultivated roses and lilies and japonicas in plenty—and you have the tally of Shakespeare. The low characters, mechanics, even the loyal henchmen-all in themselves nothing - serve as capital foils to the aristocracy. The comedies (exquisite |