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The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [2942]

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very closely and properly to the text. He did not think it necessary to improve upon the truth of nature. Several of the scenes in JULIUS CAESAR, particularly Portia's appeal to the confidence of her husband by showing him the wound she had given herself, and the appearance of the ghost of Caesar to Brutus, are, in like manner, taken from the history.

TROILUS AND CRESSIDA

This is one of the most loose and desultory of our author's plays: it rambles on just as it happens, but it overtakes, together with some indifferent matter, a prodigious number of fine things in its way. Troilus himself is no character: he is merely a common lover; but Cressida and her uncle Pandarus are hit off with proverbial truth. By the speeches given to the leaders of the Grecian host, Nestor, Ulysses, Agamemnon, Achilles, Shakespeare seems to have known them as well as if he had been a spy sent by the Trojans into the enemy's camp—to say nothing of their being very lofty examples of didactic eloquence. The following is a very stately and spirited declamation:

Ulysses. Troy, yet upon her basis, had been down,

And the great Hector's sword had lack'd a master,

But for these instances.

The specialty of rule hath been neglected.

. . . . .

The heavens themselves, the planets, and this centre,

Observe degree, priority, and place,

Insisture, course, proportion, season, form,

Office, and custom, in all line of order:

And therefore is the glorious planet, Sol,

In noble eminence, enthron'd and spher'd

Amidst the other, whose med'cinable eye

Corrects the ill aspects of planets evil,

And posts, like the commandment of a king,

Sans check, to good and bad. But, when the planets,

In evil mixture to disorder wander,

What plagues and what portents? what mutinies?

What raging of the sea? shaking of earth?

Commotion in the winds? frights, changes, horrors,

Divert and crack, rend and deracinate

The unity and married calm of states

Quite from their fixture! O, when degree is shaken,

(Which is the ladder to all high designs)

The enterprise is sick! How could communities,

Degrees in schools, and brotherhoods in cities,

Peaceful commerce from dividable shores,

The primogenitive and due of birth,

Prerogative of age, crowns, sceptres, laurels,

(But by degree) stand in authentic place?

Take but degree away, untune that string,

And hark what discord follows! each thing meets

In mere oppugnancy. The bounded waters

Would lift their bosoms higher than the shores,

And make a sop of all this solid globe:

Strength would be lord of imbecility,

And the rude son would strike his father dead:

Force would be right; or rather, right and wrong

(Between whose endless jar Justice resides)

Would lose their names, and so would Justice too.

Then everything includes itself in power,

Power into will, will into appetite;

And appetite (an universal wolf,

So doubly seconded with will and power)

Must make perforce an universal prey,

And last, eat up himself. Great Agamemnon,

This chaos, when degree is suffocate,

Follows the choking:

And this neglection of degree it is,

That by a pace goes backward, in a purpose

It hath to climb. The general's disdained

By him one step below; he, by the next;

That next, by him beneath: so every step,

Exampled by the first pace that is sick

Of his superior, grows to an envious fever

Of pale and bloodless emulation;

And'tis this fever that keeps Troy on foot,

Not her own sinews. To end a tale of length,

Troy in our weakness lives, not in her strength.

It cannot be said of Shakespeare, as was said of some one, that he was 'without o'erflowing full'. He was full, even to o'erflowing. He gave heaped measure, running over. This was his greatest fault. He was only in danger 'of losing distinction in his thoughts' (to borrow his own expression)

As doth a battle when they charge on heaps

The enemy flying.

There is another passage, the speech of Ulysses to Achilles, showing him the thankless nature of popularity, which has a still greater depth of moral observation and richness of illustration than the former.

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