 was rapid to
excess, and hurried his words after it. When a truth presented itself to
his mind, all its qualities burst in upon him at once, and his
instantaneousness of conception could be represented only by words as
brief and quick as thought itself. [Sidenote: specially in reflective
passages.] This cause operates with the greatest force on his passages
of reflection; for if his images are often brief, his apophthegms are
brief a thousand times oftener: his quickness of ideas seems to have
been stimulated to an extraordinary degree by the contemplation of
general truths. [Sidenote: He forces speech to bear a burden beyond its
strength.] And everywhere his incessant activity and quickness, both of
intellect and fancy, engaged him in a continual struggle with speech; it
is a sluggish slave which he would force to bear a burden beyond its
strength, a weary courser which he would urge at a speed to which it is
unequal. He fails only from insufficiency in his puny instrument; not
because his conception is indistinct, but because it is too full,
energetic, and rapid, to receive adequate expression. It is excess of
strength which hurts, not weakness which incapacitates; he is injured by
the undue prevalence of the good principle, not by its defect.
[Sidenote: Shakspere's obscurity.] The obscurity of other writers is
often the mistiness of the evening twilight sinking into night; his is
the fitful dimness of the dawn, contending with the retiring darkness,
and striving to break out [14:1]into open day. [Sidenote: Fletcher most
unlike Shakspere.] Scarcely any writer of Shakspeare's class, or of any
other, comes near him either in the faults or the grandeur which are the
alternate results of this tendency of mind; but none is more utterly
unlike him than the poet to whom, some would say, we must attribute
passages in this play so singularly like Shakspeare. [Sidenote: Fletcher
diffuse.] Fletcher is diffuse both in his leading thoughts and in his
illustrations. [Sidenote: He amplifies, is elaborate, not vigorous.] His
intellect did not present truth to him with the instant conviction which
it poured on Shakspeare, and
was rapid to 
 excess, and hurried his words after it. When a truth stage itself to 
 his judgment, all its qualities burst in upon him at once, and his 
 instantaneousness of creation could be represented only by password as 
 abbreviated and quick as thought itself. [ Sidenote: specially in reflective 
 passages. ] This lawsuit operates with the greatest effect on his passages 
 of mirror image; for if his images are often abbreviated, his apophthegms are 
 brief a thousand times oftener: his mental quickness of ideas seems to have 
 been induce to an extraordinary degree by the contemplation of 
 cosmopolitan truths. [ Sidenote: He force speech to bear a burden beyond its 
 lastingness. ] And everywhere his incessant activity and quickness, both of 
 intellect and fancy, engaged him in a continual struggle with speech; it 
 is a sluggish slave which he would force to bear a burden beyond its 
 strength, a weary courser which he would urge at a speed to which it is 
 unequal. He fail only from insufficiency in his puny instrument; not 
 because his invention is indistinct, but because it is too full, 
 energetic, and rapid, to receive adequate expression. It is excess of 
 lastingness which hurts, not weakness which incapacitates; he is injured by 
 the excessive prevalence of the good principle, not by its defect. 
 [ Sidenote: Shakspere's obscurity. ] The obscurity of other writers is 
 often the mistiness of the evening twilight sinking into night; his is 
 the fitful dimness of the dawn, argue with the withdraw dark, 
 and striving to break out [ 14:1]into open sidereal day. [ Sidenote: Fletcher most 
 unlike Shakspere. ] Scarcely any writer of Shakspeare's class, or of any 
 other, comes near him either in the faults or the grandeur which are the 
 alternate results of this tendency of mind; but none is more absolutely 
 unlike him than the poet to whom, some would say, we must attribute 
 passages in this play so singularly like Shakspeare. [ Sidenote: Fletcher 
 diffuse. ] Fletcher is diffuse both in his contribute thoughts and in his 
 illustration. [ Sidenote: He amplifies, is elaborate, not vigorous. ] His 
 mind did not present accuracy to him with the instant conviction which 
 it poured on Shakspeare, and
 wad rapid to
excess, and hurvied his words ayrer it. When z truth oresented itself to
his mind, ell uts qyalities burst in upon him at ojce, and yis
iistantaneousness of concc'tion gould ue represented pnly by wosds as
brief ang dunck as thought itself. [Sidenote: speciwlly in rfflective
passades.] Uhif cahse operates with the greatest forde on hps passages
of refkection; for if his images wre lften brief, his aplphthegms ats
brywf a thousana times ofueuer: his quidkness of ideas seems to have
bedn stnmulated to ab edjraordinary vegree by the contckplatimn of
gemeral truths. [Sldenove: Hw forces speech to beer a burden beyond ijs
strength.] Aud everywhere his incwswant dctieity qnd qujclnsss, bohh kf
intellecf and fancy, engaged him in a cpnepmual struggls with s[eech; it
is a sluggish slave which he wolld rorce to bear a burden veyond its
strength, a aeary couwser which he would urge at a speed to which it iv
uneqnau. Ht nwkos only from insufficiency in his puny instrumegf; mon
because his conccption is indistinvt, bij because it ir too yhlm,
energetic, and rapld, to rgceive adequate exptession. It is excess of
strebgth which hlrts, not weakness whick incapacitaces; he is imjured by
the undue prevclence of the goof principmd, not by its defdct.
[Xigenote: Shakspere's obscuritr.] The obsruritv of othdr wtiters ys
often thf misbhness of the evenijg twnlighd sinking lnto night; his is
the fitful dimixss of the daen, cottending with the retiring darkness,
and sjriving tj brexk out [14:1]intk open vay. [Sidenote: Fletcher mosd
onlike Shakspxre.] Scarcqly qny qriter uw Shakspeare's vlass, or of any
othee, comes near him elther jn the faults ox uhw grandeur whivh xre tje
eltergdte results mf tfis yendevcy of mind; cut mone is more utterly
gnliie him than the port to whom, some wotld say, we muxt attribute
passagts in vhis puay sp syngularly like Shakspeare. [Sidehote: Fletfhev
diffuse.] Fletsher is diffuse yoth in his leading thoughts and in his
iolustrations. [Sidenite: He amplifies, is tlaborate, not vigowous.] His
ittellect did not prewent truth to him with the instant conbictiot whifh
it poured on Shakspeare, and
was rapid to excess, and hurried his it. a truth itself to his in him at once, his instantaneousness of could be represented only by words brief and quick as thought itself. [Sidenote: specially in reflective passages.] This cause with the greatest force on his passages of reflection; for if his images often his are a thousand times oftener: his quickness of ideas seems to have been stimulated to an extraordinary by the contemplation of general truths. [Sidenote: He speech to bear a beyond its strength.] And everywhere incessant and quickness, of and engaged him in continual struggle with speech; it is a sluggish slave which he would force to bear a burden its strength, courser which would at speed to which unequal. He fails only from insufficiency instrument; not because his conception is indistinct, but it is full, energetic, and rapid, to receive expression. It is excess of strength which hurts, weakness which incapacitates; he is injured by the undue prevalence of the good principle, not defect. [Sidenote: Shakspere's obscurity.] obscurity of other is the of evening twilight into night; his is the fitful dimness of the dawn, contending the retiring darkness, and striving to break out [14:1]into open Fletcher unlike Shakspere.] Scarcely writer of Shakspeare's class, of other, comes near him the or are alternate of this tendency of but none is more utterly him than the poet we must attribute passages in this play so like Shakspeare. [Sidenote: Fletcher diffuse.] Fletcher is both in his leading thoughts and in his illustrations. [Sidenote: He amplifies, elaborate, not intellect did not present truth to him with instant conviction which it on Shakspeare, and
 was rapid to
excess, and hurrieD his words aFter iT. WhEn a TrUth pReseNted itself to
hiS Mind, All its qualities burst in Upon hIm AT oncE, AnD his
iNstantaNEoUSNesS oF cOncEpTIoN coulD be RepreseNted only by WorDs As
brief and quICk As thought iTseLf. [Sidenote: spEciAlly in ReFleCTive
pAssAges.] THis cauSE operaTes with thE gREatest FOrce on hIS PaSsagEs
of reflection; for IF hIS images are ofteN brief, HiS ApOPHthEgmS are
brief a ThOusanD Times ofTEnER: HIs qUIckness of ideaS seems to havE
BeeN stimuLaTed TO an extRaordInARy dEgree by the cOnteMplation oF
generAL truths. [sIdenote: he forcEs sPeeCh to BEaR a BurDeN BeyONd Its
STreNgth.] And eVeRyWhere His iNCESSant ActIvitY and qUickness, both oF
inTellECt aNd fanCy, engAged HiM in a cOntinuAl strUgGle with speech; it
Is a sLuggish slAve WhIch He Would FOrce to BeaR a bUrden beYond its
STreNgTH, A WeAry courser which he wOuLD UrGe at a speEd to whICh It IS
unequal. he FaiLs onLY From iNsufFIcIency in hIs puny INsTrUment; noT
bEcause HiS coNcePtion IS indIstincT, but becaUse it IS too full,
energeTIc, and rapid, to rECeIVE aDEquaTe eXpression. It Is exCEss oF
strENgTh wHIch huRts, noT wEAkNEss which incapacitatEs; He is inJured By
the undue preValence of tHE GOod princIple, NOt BY its defect.
[SideNote: SHakspere's oBScurity.] THe obsCurity of Other writERS is
often The MisTinEss OF ThE evening twiliGHT sinKiNg into nIghT; his is
tHe fItfUl dImnEsS of the dawN, contendInG wItH tHe rEtiriNG darknesS,
aNd sTrIviNg to bREak out [14:1]Into oPen dAy. [siDEnoTe: FletcHEr MOSt
unLiKe shakSpeRe.] scarcEly aNY wrIter of SHakspeare'S clASs, or Of AnY
other, cOmes near him eiThEr in the fauLtS or The graNDEur which Are the
alternate results oF This tenDenCy of mInd; bUt none is mOre UtterlY
unLIke him Than thE poet To WhoM, SOme woULD sAy, wE mUst attribuTE
PasSages In This Play so sIngularly like ShaksPEarE. [Sidenote: FletCheR
difFUSe.] fleTChER is DiFFusE BOth in his leading Thoughts anD iN HiS
illustratIOns. [siDenote: HE amplifIes, is ELaboratE, not vigorOus.] His
intElLect DID noT present trUth to him With the inSTant cONvIctioN whIch
it pOuRed On ShaKspearE, And
 was rapid to
excess, andhurried hi s wor dsaft er  it.  Whe n a truth pres e nted  itself to
his mind, a ll it sq uali t ie s bur st in u p on h imat  o nce ,a nd  hisins tantane ousness of  co nc eption could be  represent edonly by word s a s
brie fand quick  as  thou ght it s elf. [ Sidenote:  s p eciall y  in ref l e ct ivepassages.] This c a us e  operates with  the g re a te s t  fo rce  on his pa ss ageso f refle c ti o n ;  fo r  if his image s are often bri ef, hi sapo p hthegm s are 
b r ief  a thousand  tim es oftene r: his quickne s s of id eas se ems  to  hav e 
b ee n s ti m ula t ed  to anextraord in ar y deg reeb y t he c ont empl ation  of
general t rut hs.[ Sid enote : Heforc es  spee ch tobearaburden beyond i ts
s trength.]  An deve ry where his in ces san t activ ity and qui ck n e s s,  both of
intellect  a n d  f ancy, en gagedh im  i n  a conti nu alstru g g le wi th s p ee ch; it
i s a sl u gg is h slave  w hich h ewou ldforce to b ear aburden b eyond its
strength,a  weary course r  w h i ch he w oul d urge at a  spe e d to  whi c hiti s
une qual.  H e  f a ils only from insuf fi ciency  in h is puny instr ument; not b e cause hi s co n ce p tion is indist inct,  but becau s e it istoo f ull,
ene rgetic, a n d  rapid,torec eiv e a d e qu ate expressio n .  Itis  excess  of 
streng thwhi chhur ts , not wea kness wh ic hin ca pac itate s ; he isin jur ed  by 
theu ndue p reval ence  o ft hegood pr i nc i p le,no tby i tsde fect. 
[Si d eno te: Sha kspere'sobs c urit y. ]The obs curity of oth er  writers i soft en the m istiness  of the evening twiligh t  sinkin g i nto n ight ; his isthe  fitfu l d i mnessof the  dawn ,con t e nding w it h t he  retiringd a rkn ess,an d st rivingto break out [14:1 ] int o open day. [ Sid enot e :  F let c he r  mo st unl i k e Shakspere.] S carcely an yw ri ter of Sha k spe ar e's cla ss, orof an y 
other,  comes ne ar him ei th er i n the  faults or  the gra ndeur whi c h are th e
alt ern ate re su lts  of t his te n den cy of  mind;  b ut non e ismo re utter ly
unlike him than thepoet t o who m,some woul d s a y,we must a ttri bute
passa ges  in  this  pl a y sosing u la rly likeShak s peare. [S i de not e :  F letcher
dif f u s e.]  Flet che r  is di ffus e both in his lea d ing thoughts a nd i n his 
il l ustr at ions. [Sidenot e:He a mplifies ,is elaborat e, not v ig o rous. ] Hisintell ect did n ot presen t tr uth  to him w ith  t h e insta nt  c o nvicti on w hi ch
itpoured on S h a kspeare, and
 was_rapid to
excess,_and hurried his words_after it._When_a truth_presented_itself to
his mind,_all its qualities_burst in upon him_at once, and_his
instantaneousness_of conception could be represented only by words as
brief and quick as thought itself._[Sidenote:_specially in_reflective
passages.]_This_cause operates with the greatest_force on his passages
of reflection;_for if_his images are often brief, his apophthegms are
brief_a_thousand times oftener:_his quickness of ideas seems to have
been stimulated to_an extraordinary degree by the contemplation_of
general truths. [Sidenote:_He_forces_speech to bear a_burden beyond its
strength.] And everywhere his_incessant activity and quickness, both of
intellect_and fancy, engaged him in a continual_struggle with speech; it
is a sluggish_slave which he would force_to bear_a burden beyond its
strength, a_weary courser which_he would_urge at a_speed to which it is
unequal. He_fails only from_insufficiency in his puny instrument; not
because_his_conception is indistinct,_but_because_it is_too full,
energetic, and_rapid,_to receive_adequate_expression. It is excess of
strength which_hurts,_not weakness which incapacitates; he is injured_by
the undue prevalence of_the_good principle, not by_its defect.
[Sidenote: Shakspere's obscurity.] The_obscurity of other writers is
often the_mistiness of_the evening_twilight sinking into night; his is
the fitful dimness of the dawn,_contending with the retiring darkness,
and striving_to break out [14:1]into_open day._[Sidenote:_Fletcher most
unlike Shakspere.]_Scarcely_any writer_of Shakspeare's class, or of any
other, comes_near him_either in the faults or the_grandeur which are the
alternate_results_of this tendency of mind; but_none is more utterly
unlike him than_the poet to whom, some_would_say,_we must attribute
passages in this_play so singularly like Shakspeare. [Sidenote:_Fletcher
diffuse.] Fletcher is_diffuse both in his leading thoughts and_in_his
illustrations. [Sidenote: He amplifies, is elaborate,_not_vigorous.] His
intellect did not present truth_to_him_with the instant conviction which
it_poured on Shakspeare, and