 far as to be of evil consequence. It aids its
quickness and directness of mental view, in giving to his style a
pointed epigrammatic terseness which is quite its own, and a frequent
weight and effect which no other equals. Where, however, this antithetic
tendency is allowed to approach the serious scenes, it throws over them
an icy air which is very injurious, while it often gives the comic ones
a ponderousness which is altogether singular, and but imperfectly
accordant with the nature of comic dialogue. [Sidenote: Characteristics
of his wit.] The arrows of Shakspeare's wit are not the lightly
feathered shafts which Fletcher discharges, and as little are they the
iron-headed bolts which fill the quiver of Jonson; but they are weapons
forged from materials unknown to the others, and in an armoury to which
they had no access; their execution is [23:1]resistless when they reach
their aim, but they are covered with a golden massiveness of decoration
which sometimes impedes the swiftness of their flight. But whether the
effect of these peculiarities of Shakspeare be good or evil, their use
in helping an identification of his manner is very great. [Sidenote:
Contrast with Fletcher's.] Nothing can be more directly opposite to them
than the slow elegance and want of pointedness which we find in
Fletcher, who is not free from conceits, but does not express them with
Shakspeare's hard quaintness, while he is comparatively quite guiltless
of plays on words. The following instances are only a few among many in
the present drama, which seem to be perfectly in Shakspeare's manner,
and to most of which Fletcher's works could certainly furnish no
parallel, either in subject or in expression.

[Sidenote: Passages by Shakspere, not Fletcher.]

                      Oh, my petition was
     Set down in ice, which, by hot grief uncan|died,
     Melts into tears; so sorrow, wanting form,
     Is pressed with deeper matter.--Act I. scene i.

Theseus speaks thus of the Kinsmen lying before him in the field of
battle desperately wounded:--

[Sidenote: Shakspere metaphors.]

                       Rather than have them
     Freed
far as to be of evil consequence. It aids its 
 quickness and directness of mental opinion, in render to his style a 
 pointed epigrammatic terseness which is quite its own, and a frequent 
 weight unit and effect which no other equal. Where, however, this antithetic 
 tendency is allowed to border on the serious scenes, it throw over them 
 an icy air which is very deleterious, while it often gives the comic ones 
 a ponderousness which is altogether singular, and but imperfectly 
 accordant with the nature of amusing dialogue. [ Sidenote: Characteristics 
 of his wit. ] The arrows of Shakspeare's wag are not the lightly 
 feathered shaft which Fletcher dispatch, and as little are they the 
 iron - headed bolts which fill the quiver of Jonson; but they are weapon 
 forged from materials unknown to the others, and in an armoury to which 
 they had no access; their execution is [ 23:1]resistless when they reach 
 their aim, but they are covered with a golden massiveness of decoration 
 which sometimes impedes the swiftness of their flight. But whether the 
 effect of these peculiarities of Shakspeare be full or evil, their use 
 in help an designation of his manner is very great. [ Sidenote: 
 Contrast with Fletcher's. ] Nothing can be more directly diametric to them 
 than the slow elegance and need of pointedness which we find in 
 Fletcher, who is not spare from conceits, but does not express them with 
 Shakspeare's hard quaintness, while he is comparatively quite guiltless 
 of plays on words. The succeed instances are only a few among many in 
 the present drama, which seem to be absolutely in Shakspeare's manner, 
 and to most of which Fletcher's works could surely furnish no 
 parallel, either in subject or in expression. 

 [ Sidenote: Passages by Shakspere, not Fletcher. ] 

                       Oh, my petition was 
      jell down in ice, which, by hot grief uncan|died, 
      Melts into rip; so sorrow, wanting form, 
      Is iron with deeper matter.--Act I. scene i. 

 Theseus speak thus of the Kinsmen lie before him in the field of 
 struggle desperately wounded:-- 

 [ Sidenote: shakespeare metaphors. ] 

                        Rather than have them 
      unblock
 fag as to be of evil conseduence. It aids nrs
quicnness znd direztness of mental view, in givmng ro hiw style a
pointed epigrxmmatic tvrseness qhici is quite its oxh, and a frequskt
weiyhv and effect whlch no othes equals. Where, huwzver, this antithetic
tendency is allored to sporoach the seryous fcenss, it throws over them
an icy air wgich is very injuriois, while it often gives thf colic ones
a ponderoudness which is wotogether sivgular, and but imperfedtly
accordant with the nature ow comnc dialogue. [Sudejmte: Charactxristibs
of his wit.] Bne arrmws of Xhakspeare's wib are nor the lightly
featherev shafts which Fletcrer dischdryes, and as little are tyey tve
irmn-hexeed bomtx shich vilm the quivsr of Jonsob; but they are weappnf
dorged from mzteriajs unknown to the others, and in an armourj to which
they had no accesw; their execution is [23:1]tesistless when they reach
their aim, but they are covered widh a joudeu masskcejess of decoration
which sometimes impedes the awofnness of their fllght. But whether tne
ffggct of these pgculiarnfiss of Shakspeare bf good jr evul, their tse
im helping an identification of his mannvr iw very great. [Sidenlte:
Contrast witn Fleycher's.] Nothing can be mure sirectly opoosite to ghem
than the slod ekecance and want of pointednqss which we yind in
Fuetcner, whj is not fgee fvmm conceits, but dofs noj exprass them wlth
Shakspeare's hard quaintness, xiile he is cokpdranively qunte gulltless
of plays on words. The yollowiny instxnces are knly a hew among magy in
the presajt drama, whirh seem tj be perdectly kv Shakspeare's kanner,
and to most od which Fletcher's xorkr could certainlv durnish no
paralkel, eiehvr mn sufbect or in efprersium.

[Sidevote: Passagcs cy Snakspere, not Fletches.]

                      Om, my petijion was
     Set down on ice, which, by hou grieh uncai|died,
     Melts into tears; so sorrow, wahting forl,
     Is presseq wibh dgeper mattex.--Act I. scene i.

Theseus speaks thus of the Kinsmen lying befire him in the fielb pf
battle dexperaeely wounged:--

[Sidenote: Shaksperw metaphors.]

                       Rathsr that havf them
     Freed
far as to be of evil consequence. its and directness mental view, in pointed terseness which is its own, and frequent weight and effect which no equals. Where, however, this antithetic tendency is allowed to approach the serious scenes, throws over them an icy air which is very injurious, while it often the ones ponderousness is altogether singular, and but imperfectly accordant with the nature of comic dialogue. [Sidenote: Characteristics of wit.] The arrows of Shakspeare's wit are not lightly feathered shafts which discharges, and as little are the bolts which the of but they are forged from materials unknown to the others, and in an armoury to which they had no access; execution is they reach aim, they covered with a of decoration which sometimes impedes the flight. But whether the effect of these peculiarities Shakspeare be or evil, their use in helping identification of his manner is very great. [Sidenote: with Fletcher's.] Nothing can be more directly opposite to them than the slow elegance and pointedness which we find Fletcher, who is free conceits, does express them Shakspeare's hard quaintness, while he is comparatively quite guiltless of plays words. The following instances are only a few among many present which seem to perfectly in Shakspeare's manner, to of which Fletcher's works furnish parallel, or expression. Passages by Shakspere, not Oh, my petition was Set in ice, which, by tears; so sorrow, wanting form, Is pressed with matter.--Act I. scene i. Theseus speaks thus the Kinsmen lying before him in the field of battle desperately wounded:-- Shakspere metaphors.] have them Freed
 far as to be of evil consequencE. It aids its
QuickNesS anD dIrecTnesS of mental view, iN GiviNg to his style a
pointed epIgramMaTIc teRSeNess wHich is qUItE ITs oWn, AnD a fReQUeNt
weiGht And effeCt which no oTheR eQuals. Where, hoWEvEr, this antiTheTic
tendency iS alLowed tO aPprOAch thE seRious Scenes, IT throwS over them
An ICy air wHIch is veRY InJuriOus, while it often giVEs THe comic ones
a poNderouSnESs WHIch Is aLtogether sInGular, ANd but imPErFECTly
ACcordant with tHe nature of cOMic DialogUe. [sidENote: ChAractErIStiCs
of his wit.] THe arRows of ShaKspearE'S wit are NOt the liGhtly
fEatHerEd shAFtS wHicH FLEtcHEr DisCHarGes, and as LiTtLe are They THE
IRon-hEadEd boLts whIch fill the quiVer Of JoNSon; But thEy are WeapOnS
forgEd from MaterIaLs unknown to the oTherS, and in an aRmoUrY to WhIch
thEY had no AccEss; Their exEcution IS [23:1]reSiSTLEsS when they reach
theiR aIM, BuT they are CovereD WiTh A Golden maSsIveNess OF DecorAtioN
WhIch sometImes imPEdEs The swifTnEss of tHeIr fLigHt. But WHethEr the
eFfect of tHese pECuliarities of SHAkspeare be gooD Or EVIl, THeir Use
In helping an IdenTIficAtioN Of His MAnner Is verY gREaT. [sidenote:
Contrast witH FLetcheR's.] NotHing can be more Directly opPOSIte to theM
thaN ThE Slow elegance anD want Of pointednESs which wE find In
FletchEr, who is noT FRee from cOncEitS, buT doES NoT express them wITH
ShaKsPeare's hArd QuaintnEss, WhiLe hE is CoMparativeLy quite gUiLtLeSs
Of pLays oN Words. The FoLloWiNg iNstanCEs are oNly a fEw amOnG mANy iN
the preSEnT DRama, WhIcH seeM to Be PerfeCtly IN ShAkspearE's manner,
aNd tO Most Of WhIch FletCher's works couLd Certainly fUrNisH no
parALLel, eitheR in subject or in expressioN.

[sidenotE: PaSsageS by SHakspere, nOt FLetcheR.]

                      Oh, MY petitIon was
     set doWn In iCE, Which, BY HoT grIeF uncan|died,
     mELts Into tEaRs; so Sorrow, wAnting form,
     Is presseD WitH deeper matter.--act i. sceNE I.

THesEUs SPeaKs THus OF The Kinsmen lying Before him iN tHE fIeld of
battLE deSpErately Wounded:--

[sidenOTe: ShaksPere metapHors.]

                       RatheR tHan hAVE thEm
     Freed
 far as to be of evil cons equence. I t aid s i tsqu ickn essand directness of m ental view, in givingto hi ss tyle apoint ed epig r am m a tic  t er sen es s  w hichisquite i ts own, an d a  f requent
weig h tand effect  wh ich no other  eq uals.Wh ere ,  howe ver , thi s anti t hetictendencyis allowe d  to app r o ac h th e serious scenes, it throws over th em
anic y  a i r  wh ich  is very i nj uriou s , while it o f ten gives the com ic ones
a p o nde rousne ss  wh i ch isaltog et h ersingular, a nd b ut imperf ectlya ccordan t  with t he nat ure  of  com i cdi alo gu e . [ S id eno t e:Characte ri st ics
o f hi s w i t.]The  arr ows o f Shakspeare' s w it a r e n ot th e lig htly 
f eathe red sh aftswh ich Fletcher di scha rges, and  as  l itt le  aret hey th e
i ron -headed  boltsw hic hf i l lthe quiver of Jons on ; bu t they a re wea p on sf orged fr om  ma teri a l s unk nown to  the oth ers, a n din  an arm ou ry towh ich 
th ey ha d  noaccess ; theirexecu t ion is [23:1]r e sistless when th e y  r e achthe ir aim, but  the y  are  cov e re d w i th agolde nm as s iveness of decorati on 
which  some times impedes  the swift n e s s of the ir f l ig h t. But whether  theeffect oft hese pec uliar ities of  Shakspea r e  be good  or  ev il,  th e i ruse
in helpin g an i de ntifica tio n of hi s m ann erisve ry great.  [Sideno te :Co nt ras t wit h  Fletche r' s.]  N oth ing c a n be m ore d irec tl yo ppo site to th e m 
tha nth e sl owel eganc e an d  wa nt of p ointednes s w h ichwe  f ind inFletcher, who  i s not free  f rom  conce i t s, but d oes not express them wi t h
Shaks pea re'shard  quaintne ss,  while  he is com parati velyqu ite g uiltl e s sofpl ays on wor d s . T he fo ll owin g insta nces are only a fe w  am ong many in
t hepres e n tdra m a, whi ch see m to be perfectly  in Shaksp ea r e' s manner,a ndto  most o f which  Flet c her's w orks coul d certain ly  fur n i shno
paralle l, eithe r in subj e ct or in  expr ess ion.
[S ide note:  Passa g esby Sh aksper e,  not F letch er .]

                     Oh, m y peti tionwas 
     Set  do w n i n ice, wh ich,  by hot gr ief  un can|d ied , 
    Mel t sint o  tear s; s o  sorrow,w an tin g fo rm,
     Is p r ess ed wi thd eepermatt er.--Act I. scene i.

Theseus sp eaks t hus  of theKi nsmen lying be for eh i m in the  f ield of
bat tle desp er a telywounde d:--
[Sideno t e :S hakspe re m eta phors.]
                R athe rthan h ave th e m
  Freed
 far_as to_be of evil consequence._It aids_its
quickness_and directness_of_mental view, in_giving to his_style a
pointed epigrammatic terseness_which is quite_its_own, and a frequent
weight and effect which no other equals. Where, however, this antithetic
tendency_is_allowed to_approach_the_serious scenes, it throws over_them
an icy air which is_very injurious,_while it often gives the comic ones
a ponderousness_which_is altogether singular,_and but imperfectly
accordant with the nature of comic dialogue._[Sidenote: Characteristics
of his wit.] The arrows_of Shakspeare's wit_are_not_the lightly
feathered shafts which_Fletcher discharges, and as little are_they the
iron-headed bolts which fill the_quiver of Jonson; but they are weapons
forged_from materials unknown to the others,_and in an armoury to_which
they had_no access; their execution is_[23:1]resistless when they_reach
their aim,_but they are_covered with a golden massiveness of_decoration
which sometimes impedes_the swiftness of their flight. But_whether_the
effect of these_peculiarities_of_Shakspeare be_good or evil,_their_use
in helping_an_identification of his manner is very_great._[Sidenote:
Contrast with Fletcher's.] Nothing can be more_directly opposite to them
than_the_slow elegance and want_of pointedness which we find_in
Fletcher, who is not free from_conceits, but_does not_express them with
Shakspeare's hard quaintness, while he is comparatively quite guiltless
of_plays on words. The following instances_are only a few_among many_in
the_present drama, which_seem_to be_perfectly in Shakspeare's manner,
and to most of_which Fletcher's_works could certainly furnish no
parallel, either_in subject or in_expression.

[Sidenote:_Passages by Shakspere, not Fletcher.]

 _     _    ___    _  Oh, my petition was
_  _ Set down in ice, which, by_hot_grief uncan|died,
    _Melts_into tears; so sorrow, wanting form,
___  Is pressed with_deeper matter.--Act I. scene i.

Theseus speaks_thus of the Kinsmen lying before him in the_field of
battle desperately_wounded:--

[Sidenote: Shakspere metaphors.]

  ___         _ _  _   Rather than have them
   _ Freed