What dost thou mean? Is this a world to hide virtues in? I did
think by the excellent constitution of thy leg, it was framed under
the star of a galliard!'--How Sir Toby, Sir Andrew, and the Clown
afterwards chirp over their cups, how they 'rouse the night-owl in a
catch, able to draw three souls out of one weaver'!--What can be
better than Sir Toby's unanswerable answer to Malvolio, 'Dost thou
think, because thou art virtuous, there shall be no more cakes and
ale?' In a word, the best turn is given to everything, instead of
the worst. There is a constant infusion of the romantic and
enthusiastic, in proportion as the characters are natural and
sincere: whereas, in the more artificial style of comedy, everything
gives way to ridicule and indifference, there being nothing left but
affectation on one side, and incredulity on the other.--Much as we
like Shakespeare's comedies, we cannot agree with Dr. Johnson that
they are better than his tragedies; nor do we like them half so
well. If his inclination to comedy sometimes led him to trifle with
the seriousness of tragedy, the poetical and impassioned passages
are the best parts of his comedies. The great and secret charm of
TWELFTH NIGHT is the character of Viola. Much as we like catches and
cakes and ale, there is something that we like better. We have a
friendship for Sir Toby; we patronize Sir Andrew; we have an
understanding with the Clown, a sneaking kindness for Maria and her
rogueries; we feel a regard for Malvolio, and sympathize with his
gravity, his smiles, his cross-garters, his yellow stockings, and
imprisonment in the stocks.
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