from your neck unloose his amorous fold,
And like a dew-drop from the lion's mane
Be shook to air."

Shakspeare's language and versification are like the rest of him. He has
a magic power over words: they come winged at his bidding; and seem to
know their places. They are struck out at a heat, on the spur of the
occasion, and have all the truth and vividness which arise from an
actual impression of the objects. His epithets and single phrases are
like sparkles, thrown off from an imagination, fired by the whirling
rapidity of its own motion. His language is hieroglypnical. It
translates thoughts into visible images. It abounds in sudden
transitions and elliptical expressions. This is the source of his mixed
metaphors, which are only abbreviated forms of speech. These, however,
give no pain from long custom. They have, in fact, become idioms in the
language. They are the building, and not the scaffolding to thought. We
take the meaning and effect of a well-known passage entire, and no more
stop to scan and spell out the particular words and phrases, than the
syllables of which they are composed. In trying to recollect any other
author, one sometimes stumbles, in case of failure, on a word as good.
In Shakspeare, any other word but the true one, is sure to be wrong. If
any body, for instance, could not recollect the words of the following
description,

"------Light thickens,
And the crow makes wing to the rooky wood,"

he would be greatly at a loss to substitute others for them equally
expressive of the feeling. These remarks, however, are strictly
applicable only to the impassioned parts of Shakspeare's language, which
flowed from the warmth and originality of his imagination, and were his
own. The language used for prose conversation and ordinary business is
sometimes technical, and involved in the affectation of the time.
Compare, for example, Othello's apology to the senate, relating "his
whole course of love," with some of the preceding parts relating to his
appointment, and the official dispatches from Cyprus. In this respect,
"the business of the state does him offence."--His versification is no
less powerful, sweet, and varied. It has every occasional excellence, of
sullen intricacy, crabbed and perplexed, or of the smoothest and
loftiest expansion--from the ease and familiarity of measured
conversation to the lyrical sounds

"------Of di