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74 (f) Once more, to say that Shakespeare makes all his serious characters talk alike, and that he constantly speaks through the mouths of his dramatis personae without regard to their individual natures, would be to exaggerate absurdly; but it is true that in his earlier plays these faults are traceable in some degree, and even in Hamlet there are striking passages where dramatic appropriateness is sacrificed to some other object. When Laertes speaks the lines beginning,

who can help feeling that Shakespeare is speaking rather than Laertes? Or when the player-king discourses for more than twenty lines on the instability of human purpose, and when King Claudius afterwards insists to Laertes on the same subject at almost equal length, who does not see that Shakespeare, thinking but little of dramatic fitness, wishes in part simply to write poetry, and partly to impress on the audience thoughts which will help them to understand, not the player-king nor yet King Claudius, but Hamlet himself, who, on his side,—and here quite in character—has already enlarged on the same topic in the most famous of his soliloquies?

(g) Lastly, like nearly all the dramatists of his day and of times much earlier, Shakespeare was fond of ‘gnomic’ passages, and introduces them probably not more freely than his readers like, but more freely than, I suppose, a good play-wright now would care to do. These passages, it may be, observed, are frequently rhymed (e.g. Othello, iii. 201 ff,  i. 149 ff.). Sometimes they were printed in early editions with inverted commas round them,