Note (return) — SHAKESPEARE'S ART

And so, generally, the Classic Drama, like the Classic Architecture, is all light, graceful, airy, in its form; whereas the Gothic is in nature and design profound, solemn, majestic. The genius of the one runs to a simple expressiveness; of the other to a manifold suggestiveness. That is mainly statuesque, and hardly admits any effect of background and perspective; this is mainly picturesque, and requires an ample background and perspective for its characteristic effect. There the mind is drawn more to objects; here, more to relations. The former, therefore, naturally detaches things as much as possible, and sets each out by itself in the utmost clearness and definiteness of view; while the latter associates and combines them in the largest possible variety consistent with unity of interest and impression, so as to produce the effect of indefiniteness and mystery. Thus a Shakespearian drama is like a Gothic cathedral, which, by its complexity of structure, while catching the eye would fain lift the thoughts to something greater and better than the world, making the beholder feel his littleness, and even its own littleness, comparison of what it suggests. For, in this broad and manifold diversity struggling up into unity, we may recognize the awe-inspiring grandeur and vastness of the Gothic Architecture, as distinguished from the cheerful, smiling beauty of the Classic. Such is the difference between the spirit of Classic Art and the spirit of Gothic Art.[13]