But now I spoke of words encountering as gay strangers, various in
origin, divided in race, within a master's phrase. The most beautiful
and the most sudden of such meetings are of course in Shakespeare.
'Superfluous kings,' 'A lass unparalleled,' 'Multitudinous seas:' we
needed not to wait for the eighteenth century or for the nineteenth to
learn the splendour of such encounters, of such differences, of such
nuptial unlikeness and union. But it is well that we should learn them
afresh. And it is well, too, that we should not resist the rhythmic
reaction bearing us now somewhat to the side of the Latin. Such a
reaction is in some sort an ethical need for our day. We want to quell
the exaggerated decision of monosyllables. We want the poise and the
pause that imply vitality at times better than headstrong movement
expresses it. And not the phrase only but the form of verse might render
us timely service. The controlling couplet might stay with a touch a
modern grief, as it ranged in order the sorrows of Canning for his son.
But it should not be attempted without a distinct intention of submission
on the part of the writer. The couplet transgressed against, trespassed
upon, shaken off, is like a law outstripped, defied--to the dignity
neither of the rebel nor of the rule.
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