This bewitching music is heard again in Hamlet’s farewell to Horatio: 

     If thou didst ever hold me in thy heart,
     Absent thee from felicity awhile,
     And in this harsh world draw thy breath in pain,
     To tell my story.

But after Hamlet this music is heard no more.  It is followed by a music vaster and deeper, but not the same.

The changes observable in Hamlet are afterwards, and gradually, so greatly developed that Shakespeare’s style and versification at last become almost new things.  It is extremely difficult to illustrate this briefly in a manner to which no just exception can be taken, for it is almost impossible to find in two plays passages bearing a sufficiently close resemblance to one another in occasion and sentiment.  But I will venture to put by the first of those quotations from Hamlet this from Macbeth: 

     Dun. This castle hath a pleasant seat; the air
     Nimbly and sweetly recommends itself
     Unto our gentle senses.

Ban. This guest of summer, The temple-haunting martlet, does approve, By his loved mansionry, that the heaven’s breath Smells wooingly here:  no jutty, frieze, Buttress, nor coign of vantage, but this bird Hath made his pendent bed and procreant cradle; Where they most breed and haunt, I have observed, The air is delicate;

and by the second quotation from Hamlet this from Antony and Cleopatra: 

     The miserable change now at my end
     Lament nor sorrow at; but please your thoughts
     In feeding them with those my former fortunes
     Wherein I lived, the greatest prince o’ the world,
     The noblest; and do now not basely die,
     Not cowardly put off my helmet to
     My countryman,—­a Roman by a Roman
     Valiantly vanquish’d.  Now my spirit is going;
     I can no more.

It would be almost an impertinence to point out in detail how greatly these two passages, and especially the second, differ in effect from those in Hamlet, written perhaps five or six years earlier.  The versification, by the time we reach Antony and Cleopatra, has assumed a new type; and although this change would appear comparatively slight in a typical passage from Othello or even from King Lear, its approach through these plays to Timon and Macbeth can easily be traced.  It is accompanied by a similar change in diction and construction.  After Hamlet the style, in the more emotional passages, is heightened.  It becomes grander, sometimes wilder, sometimes more swelling, even tumid.  It is also more concentrated, rapid, varied, and, in construction, less regular, not seldom twisted or elliptical.  It is, therefore, not so easy and lucid, and in the more ordinary dialogue it is sometimes involved and obscure, and from these and other causes deficient in charm.[30] On the other hand, it is always full of life and movement, and in great passages produces sudden, strange, electrifying effects which are rarely found in earlier plays, and not so often even in Hamlet.  The more pervading effect of beauty gives place to what may almost be called explosions of sublimity or pathos.