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With much ado, the cold fault cleanly out,
Then do they spend their mouths; echo replies,
As if another chase were in the skies.

By this poor Wat far off, upon a hill,
Stands on his hinder legs with listening ear,
To hearken if his foes pursue him still:
Anon their loud alarums he doth hear,
And now his grief may be compared well
To one sore-sick, that hears the passing-bell.
Then shalt thou see the dew-bedabbled wretch
Turn, and return, indenting with the way:
Each envious briar his weary legs doth scratch,
Each shadow makes him stop, each murmur stay.
For misery is trodden on by many,

And being low, never relieved by any.

Venus and Adonis.

And the preceding description:

But, lo! from forth a copse that neighbours by, A breeding jennet, lusty, young and proud, &c. is much more admirable, but in parts less fitted for quotation.

Moreover Shakespeare had shown that he possessed fancy, considered as the faculty of bringing together images dissimilar in the main by some one point or more of likeness, as in such a passage as this:

Full gently now she takes him by the hand,
A lily prisoned in a jail of snow,

Or ivory in an alabaster band;

So white a friend ingirts so white a foe!—Ib.

And still mounting the intellectual ladder, he had as unequivocally proved the indwelling in his mind of imagination, or the power by which one image or feeling is made to modify many others, and by

a sort of fusion to force many into one ;-that which afterwards showed itself in such might and energy in Lear, where the deep anguish of a father spreads the feeling of ingratitude and cruelty over the very elements of heaven;-and which, combining many circumstances into one moment of consciousness, tends to produce that ultimate end of all human thought and human feeling, unity, and thereby the reduction of the spirit to its principle and fountain, who is alone truly one. Various are the workings of this the greatest faculty of the human mind, both passionate and tranquil. In its tranquil and purely pleasurable operation, it acts chiefly by creating out of many things, as they would have appeared in the description of an ordinary mind, detailed in unimpassioned succession, a oneness, even as nature, the greatest of poets, acts upon us, when we open our eyes upon an extended prospect. Thus the flight of Adonis in the dusk of the evening:

Look! how a bright star shooteth from the sky; So glides he in the night from Venus' eye!

How many images and feelings are here brought together without effort and without discord, in the beauty of Adonis, the rapidity of his flight, the yearning, yet hopelessness, of the enamoured gazer, while a shadowy ideal character is thrown over the whole! Or this power acts by impressing the stamp of humanity, and of human feelings, on inanimate or mere natural objects:

Lo! here the gentle lark, weary of rest,

From his moist cabinet mounts up on high, And wakes the morning, from whose silver breast The sun ariseth in his majesty,

Who doth the world so gloriously behold,

The cedar-tops and hills seem burnish'd gold.

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Or again, it acts by so carrying on the eye of the reader as to make him almost lose the consciousness of words, to make him see everything flashed, as Wordsworth has grandly and appropriately said,

Flashed upon that inward eye

Which is the bliss of solitude;

and this without exciting any painful or laborious attention, without any anatomy of description (a fault not uncommon in descriptive poetry)—but with the sweetness and easy movement of nature.

This

energy is an absolute essential of poetry, and of itself would constitute a poet, though not one of the highest class; it is, however, a most hopeful symptom, and the Venus and Adonis is one continued specimen of it.

In this beautiful poem there is an endless activity of thought in all the possible associations of thought with thought, thought with feeling, or with words, of feelings with feelings, and of words with words.

Even as the sun, with purple-colour'd face,
Had ta'en his last leave of the weeping morn,
Rose-cheek'd Adonis hied him to the chase:
Hunting he loved, but love he laugh'd to scorn.
Sick-thoughted Venus makes amain unto him,
And like a bold-faced suitor 'gins to woo him.

Remark the humanizing imagery and circumstances of the first two lines, and the activity of thought in the play of words in the fourth line. The whole stanza presents at once the time, the appearance of the morning, and the two persons distinctly characterized, and in six simple verses puts the reader in possession of the whole argument of the poem.

Over one arm the lusty courser's rein,
Under the other was the tender boy,
Who blush'd and pouted in a dull disdain,
With leaden appetite, unapt to toy,
She red and hot, as coals of glowing fire,
He red for shame, but frosty to desire :-

This stanza and the two following afford good instances of that poetic power, which I mentioned above, of making everything present to the imagination--both the forms, and the passions which modify those forms, either actually, as in the representations of love, or anger, or other human affections: or imaginatively, by the different manner in which inanimate objects, or objects unimpassioned themselves, are caused to be seen by the mind in moments of strong excitement, and according to the kind of the excitement, whether of jealousy, or rage, or love, in the only appropriate sense of the word, or of the lower impulses of our nature, or finally of the poetic feeling itself. It is, perhaps, chiefly in the power of producing and reproducing the latter that the poet stands distinct.

The subject of the Venus and Adonis is unpleasing; but the poem itself is for that very reason the more illustrative of Shakespeare. There are men who can write passages of deepest pathos and even sublimity on circumstances personal to themselves and stimulative of their own passions; but they are not, therefore, on this account poets. Read that magnificent burst of woman's patriotism and exultation, Deborah's song of victory; it is glorious, but nature is the poet there. It is quite another matter to become all things and yet remain the same,—to make the changeful god be felt in the river, the lion and the flame; this it is, that is the true imagination.

Shakespeare writes in this poem, as if he were of another planet, charming you to gaze on the movements of Venus and Adonis, as you would on the twinkling dances of two vernal butterflies.

Finally, in this poem and the Rape of Lucrece, Shakespeare gave ample proof of his possession of a most profound, energetic, and philosophical mind, without which he might have pleased, but could not have been a great dramatic poet. Chance and the necessity of his genius combined to lead him to the drama his proper province; in his conquest of which we should consider both the difficulties which opposed him, and the advantages by which he was assisted.

Lit. Rem., II. 53–60,

Shakespeare's Judgment equal to his Genius.

Thus then Shakespeare appears, from his Venus and Adonis and Rape of Lucrece alone, apart from all his great works, to have possessed all the conditions of the true poet. Let me now proceed to destroy, as far as may be in my power, the popular notion that he was a great dramatist by mere instinct, that he grew immortal in his own despite, and sank below men of second or third-rate power, when he attempted aught beside the drama-even as bees construct their cells and manufacture their honey to admirable perfection; but would in vain attempt to build a nest. Now this mode of reconciling a compelled sense of inferiority with a feeling of pride, began in a few pedants, who having read that Sophocles was the great model of tragedy, and Aristotle the infallible dictator of its rules, and finding that the Lear, Hamlet, Othello, and other masterpieces, were neither in imitation of Sophocles

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