Shakespeare’s mind, as Hazlitt suggested, contained within itself the germs of all faculty and feeling. He knew intuitively how every faculty and feeling would develop in any conceivable change of fortune. Men and women—good or bad, old or young, wise or foolish, merry or sad, rich or poor—yielded their secrets to him, and his genius enabled him to give being in his pages to all the shapes of humanity that present themselves on the highway of life. Each of his characters gives voice to thought or passion with an individuality and a naturalness that rouse in the intelligent playgoer and reader the illusion that they are overhearing men and women speak unpremeditatingly among themselves, rather than that they are reading written speeches or hearing written speeches recited. The more closely the words are studied, the completer the illusion grows. Creatures of the imagination—fairies, ghosts, witches—are delineated with a like potency, and the reader or spectator feels instinctively that these supernatural entities could not speak, feel, or act otherwise than Shakespeare represents them. The creative power of poetry was never manifested to such effect as in the corporeal semblances in which Shakespeare clad the spirits of the air. So mighty a faculty sets at nought the common limitations of nationality, and in every quarter of the globe to which civilised life has penetrated, Shakespeare’s power is recognised. All the world over, language is applied to his creations that ordinarily applies to beings of flesh and blood. Hamlet and Othello, Lear and Macbeth, Falstaff and Shylock, Brutus and Romeo, Ariel and Caliban are studied in almost every civilised tongue as if they were historic personalities, and the chief of the impressive phrases that fall from their lips are rooted in the speech of civilised humanity. To Shakespeare the intellect of the world, speaking in divers accents, applies with one accord his own words: “How noble in reason! how infinite in faculty! in apprehension how like a god!” _Life of William Shakespeare._ 1899, chap. xxi. PART II “GOOD SENTENCES” Good sentences. _Merchant of Venice_, I. ii. 11. * * * * * Brief, short, quick, snap. _Merry Wives_, IV. v. 2. * * * * * In the quick forge and working-house of thought. _Henry V._ V. prol. 23. * * * * * A good swift simile. _Taming of the Shrew_, V. ii. 54. “GOOD SENTENCES” Shakespeare, we must be silent in thy praise, ’Cause our encomions will but blast thy bays, Which envy could not, that thou didst so well, Let thine own histories prove thy chronicle. ANONYMOUS. Epig. 25. _Witts Recreations._ 1640, printed 1639.