and no scheme of prosody, will be here of the least avail. Though the
pedagogue were Briareus himself who would thus bring Shakespeare under
the rule of his rod or Shelley within the limit of his line, he would
lack fingers on which to count the syllables that make up their music,
the infinite varieties of measure that complete the changes and the
chimes of perfect verse. It is but lost labour that they rise up so
early, and so late take rest; not a Scaliger or Salmasius of them all
will sooner solve the riddle of the simplest than of the subtlest melody.
Least of all will the method of a scholiast be likely to serve him as a
clue to the hidden things of Shakespeare. For all the counting up of
numbers and casting up of figures that a whole university--nay, a whole
universe of pedants could accomplish, no teacher and no learner will ever
be a whit the nearer to the haven where they would be. In spite of all
tabulated statements and regulated summaries of research, the music which
will not be dissected or defined, the "spirit of sense" which is one and
indivisible from the body or the raiment of speech that clothes it, keeps
safe the secret of its sound. Yet it is no less a task than this that
the scholiasts have girt themselves to achieve: they will pluck out the
heart not of Hamlet's but of Shakespeare's mystery by the means of a
metrical test; and this test is to be applied by a purely arithmetical
process. It is useless to pretend or to protest that they work by any
rule but the rule of thumb and finger: that they have no ear to work by,
whatever outward show they may make of unmistakable ears, the very nature
of their project gives full and damning proof. Properly understood, this
that they call the metrical test is doubtless, as they say, the surest or
the sole sure key to one side of the secret of Shakespeare; but they will
never understand it properly who propose to secure it by the ingenious
device of numbering the syllables and tabulating the results of a
computation which shall attest in exact sequence the quantity, order, and
proportion of single and double endings, of rhyme and blank verse, of
regular lines and irregular, to be traced in each play by the horny eye
and the callous finger of a pedant. "I am ill at these numbers"; those
in which I have sought to become an expert are numbers of another sort;
but having, from wellnigh the first years I can remember, made of the
study of Shakespeare the chief