A Study of Shakespeare. Algernon Charles Swinburne

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СКАЧАТЬ can be made to bear no reasonable meaning but this by the most violent ingenuity of perversion, and who presumably were not persons of such frank imbecility, such innocent and infantine malevolence, as to forge against their most dangerous enemy the pointless and edgeless weapon of a charge which, if ungrounded, must have been easier to refute than to devise. Assuming then that in common with other young poets of his day he was thus engaged during the first years of his connection with the stage, we should naturally have expected to find him handling the text of Marlowe with more of reverence and less of freedom than that of meaner men: ready, as in the Contention, to clear away with no timid hand their weaker and more inefficient work, to cancel and supplant it by worthier matter of his own; but when occupied in recasting the verse of Marlowe, not less ready to confine his labour to such slight and skilful strokes of art as that which has led us into this byway of speculation; to the correction of a false note, the addition of a finer touch, the perfection of a meaning half expressed or a tone of half-uttered music; to the invigoration of sense and metre by substitution of the right word for the wrong, of a fuller phrase for one feebler; to the excision of such archaic and superfluous repetitions as are signs of a cruder stage of workmanship, relics of a ruder period of style, survivals of the earliest form or habit of dramatic poetry. Such work as this, however humble in our present eyes, which look before and after, would assuredly have been worthy of the workman and his task; an office no less fruitful of profit, and no more unbeseeming the pupil hand of the future master, than the subordinate handiwork of the young Raffaelle or Leonardo on the canvas of Verrocchio or Perugino.

      Of the doubtful or spurious plays which have been with more or less show of reason ascribed to this first period of Shakespeare’s art, I have here no more to say than that I purpose in the proper place to take account of the only two among them which bear the slightest trace of any possible touch of his hand. For these two there is not, as it happens, the least witness of tradition or outward likelihood which might warrant us in assigning them a place apart from the rest, and nearer the chance of reception into the rank that has been claimed for them; while those plays in whose favour there is some apparent evidence from without, such as the fact of early or even original attribution to the master’s hand, are, with one possible exception, utterly beyond the pale of human consideration as at any stage whatever the conceivable work of Shakespeare.

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