English drama -- Early modern and Elizabethan, 1500-1600 -- History and criticism
The wording of this passage is sufficient to attest the presence and
approve the quality of a poet: the manner and the moment of its
introduction would be enough to show the instinctive and inborn insight
of a natural dramatist. As much may be said of the few words which give
us a ghostly glimpse of supernatural terror:
Ha! what art thou that tak'st away the light
Betwixt that star and me! I dread thee not:
'Twas but a mist of conscience.
But the real power and genius of the work cannot be shown by
extracts--not even by such extracts as these. His friend and colleague
Dekker shows to better advantage by the process of selection: hardly one
of his plays leaves so strong and sweet an impression of its general and
complete excellence as of separate scenes or passages of tender and
delicate imagination or emotion beyond the reach of Middleton: but the
tragic unity and completeness of conception which distinguish this
masterpiece will be sought in vain among the less firm and solid figures
of his less serious and profound invention. Had "The Changeling" not
been preserved, we should not have known Middleton: as it is, we are
more than justified in asserting that a critic who denies him a high
place among the poets of England must be not merely ignorant of the
qualities which involve a right or confer a claim to this position, but
incapable of curing his ignorance by any process of study. The rough and
rapid work which absorbed too much of this poet's time and toil seems
almost incongruous with the impression made by the noble and thoughtful
face, so full of gentle dignity and earnest composure, in which we
recognize the graver and loftier genius of a man worthy to hold his own
beside all but the greatest of his age. And that age was the age of
Shakespeare.
WILLIAM ROWLEY
Of all the poets and humorists who lit up the London stage for half a
century of unequalled glory, William Rowley was the most thoroughly
loyal Londoner: the most evidently and proudly mindful that he was a
citizen of no mean city. I have always thought that this must have been
the conscious or unconscious source of the strong and profound interest
which his very remarkable and original genius had the good-fortune to
evoke from the sympathies of Charles Lamb. That divine cockney, if the
word may be used--and "why in the name of glory," to borrow the phrase
of another immortal fellow-townsman, should it not be?--as a term of no
less honor than Yorkshireman or Northumbrian, Cornishman or Welshman,
has lavished upon Rowley such cordial and such manfully sympathetic
praise as would suffice to preserve and to immortalize the name of a far
lesser man and a far feebler workman in tragedy or comedy, poetry or
prose.
Public-domain text, read in full here on John Shaqi.
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