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lect. iii.
THE TRAGIC PERIOD
87

But after Hamlet this music is heard no more. It is followed by a music vaster and deeper, but not the same.

The changes observable in Hamlet are afterwards, and gradually, so greatly developed that Shakespeare’s style and versification at last become almost new things. It is extremely difficult to illustrate this briefly in a manner to which no just exception can be taken, for it is almost impossible to find in two plays passages bearing a sufficiently close resemblance to one another in occasion and sentiment. But I will venture to put by the first of those quotations from Hamlet this from Macbeth:

Dun. This castle hath a pleasant seat; the airNimbly and sweetly recommends itselfUnto our gentle senses.Ban.This guest of summer,The temple-haunting martlet, does approve,By his loved mansionry, that the heaven’s breathSmells wooingly here: no jutty, frieze.Buttress, nor coign of vantage, but this birdHath made his pendent bed and procreant cradle;Where they most breed and haunt, I have observed,The air is delicate;

and by the second quotation from Hamlet this from Antony and Cleopatra:

The miserable change now at my endLament nor sorrow at; but please your thoughtsIn feeding them with those my former fortunesWherein I lived, the greatest prince o’ the world,The noblest; and do now not basely die,Not cowardly put off my helmet toMy countryman,—a Roman by a RomanValiantly vanquish’d. Now my spirit is going;I can no more.

It would be almost an impertinence to point out in detail how greatly these two passages, and especially the second, differ in effect from those in Hamlet, written perhaps five or six years earlier. The versification, by the time we reach Antony and Cleopatra, has assumed a new

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