Page:William Hazlitt - Characters of Shakespear's Plays (1817).djvu/377

Rh cies of thought and language, which poetry had learned from the controversial jargon of the schools, where words had been made a substitute for things. There was, if we mistake not, something of modesty, and a painful sense of personal propriety at the bottom of this. Shakespear's imagination, by identifying itself with the strongest characters in the most trying circumstances, grappled at once with nature, and trampled the littleness of art under his feet: the rapid changes of situation, the wide range of the universe, gave him life and spirit, and afforded full scope to his genius; but returned into his closet again, and having assumed the badge of his profession, he could only labour in his vocation, and conform himself to existing models. The thoughts, the passions, the words which the poet's pen, "glancing from heaven to earth, from earth to heaven," lent to others, shook off the fetters of pedantry and affectation; while his own thoughts and feelings, standing by themselves, were siezed upon as lawful prey, and tortured to death according to the established rules and practice of the day. In a word, we do not like Shakespear's poems, because we like his plays: the one, in all their excellencies, are just the reverse of the other. It has been the fashion of late to cry up our author's poems, as equal to his plays: this is the desperate cant of modern criticism. We