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scenes, as it extends to all his works, deserves more consideration. Let the fact be first stated, and then examined.

Shakspeare's plays are not in the rigorous and critical sense either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublanary nature, which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination ; and expressing the course of the world, in which the loss of one is the gain of another; in which, at the same time, the reveller is hašting to his wine, and the mourner burying his friend; in which the malignity of one is sometimes defeated by the frolic of another: and many mischiefs and many benefits are done and hindered without design.

Out of this chaos of mingled purposes and casualties, the ancient poets, according to the laws which custom had prescribed, selected some the crimes of men, and some their absurdities; some the momentous vicissitudes of life, and some the lighter occurrences; some the terrors of distress, and some the gayeties of prosperity. Thus rose the two modes of imitation, known by the names of tragedy and comedy; compositions intended to promote different ends by contrary means, and considered as so little allied, that I do not recollect among the Greeks or Romans a single writer who attempted both.

Shakspeare has united the powers of exciting laughter and sorrow not only in one mind, but in one composition. Almost all his plays are divided between serious and Indicrous characters, and, in the successive evolutions of the design, sometimes produce seriousness and sorrow, and sometimes levity and laughter.

That this is a practice contrary to the rules of criticism will be readily allowed; but there is always an appeal open from cri. ticism to nature. The end of writing is to instruct; the end of poetry is to instruct by pleasing, That the mingled drama may convey all the instruction of tragedy or comedy cannot be denied, because it includes both in its alternations of exhibition, and approaches nearer than either to the appearance of life, by showing how great machinations and slender designs may promote or obviate one another, and the high and the low cooperate in the general system by unavoidable concatenation.

It is objected, that by this change of scenes the passions are interrupted in their progression, and that the principal event, being not advanced by a due gradation of preparatory incidents, wants at last the power to move, which constitutes the perfection of dramatic poetry. This reasoning is so specious, that it is received as true even by those who in daily experience feel it to be false. The interchanges of mingled scenes seldom fail to produce the intended vicissitudes of passion. Fiction cannot move so much, but that the attention may be easily transferred; and though it must be allowed that pleasing melancholy bé sometimes interrupted by unwelcome levity, yet let it be considered likewise, that melancholy is often not pleasing, and that the disturbance of one man may be the relief of another; that different auditors have different habitudes; and that, upon the whole, all pleasure consists in variety:

The players, who in their edition divided our author's works

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into comedies, histories, and tragedies, seem not to have distinguished the three kinds, by any very exact or definite ideas.

Ån action which ended happily to the principal persons, however serious or distressful through its intermediate incidents, in their opinion constituted a comedy. This idea of a comedy continued long amongst us, and plays were written, which, by changing the catastrophe, were tragedies to-day, and comedies to-morrow,

Tragedy was not in those times a poem of more general dignity or elevation than comedy; it required only a calamitous conclusion, with which the common criticism of that age was satisfied, whatever lighter pleasure it afforded in its progress.

History was a series of actions, with no other than chronological succession, independent on each other, and without any tendency to introduce and regulate the conclusion. It is not always very nicely distinguished from tragedy. There is not much nearer approach to unity of action in the tragedy of Antony and Cleopatra, than in the history of Richard the Second But a history might be continued through many plays; as it had no plan, it had no limits.

Through all these denominations of the drama, Shakspeare's mode of composition is the same; an interchange of seriousness and merriment, by which the mind is softened at one time, and exhilarated at another. But whatever be his purpose, whether to gladden or depress, or to conduct the story, without vehemence or emotion, through tracts of easy and familiar dialogue, he never fails to attain his purpose; as he commands us, we laugh or mourn, or sit silent with quiet expectation, in tranquil. lity without indifference. When Shakspeare's plan is understood,

most of the criticisms of Rymer and Voltaire vanish away. The play of Hamlet is opened, without impropriety, by two centinels; Iago bellows at Brabantio's window, without injury to the scheme of the play, though in terms which a modern audience would not easily endure; the character of Polonius is seasonable and useful; and the Gravediggers themselves may be heard with applause.

Shakspeare engaged in dramatic poetry "ith the world open before him; the rules of the ancients were yet known to few; the public jndgment was unformed; he had no example of sueh fame as might force him upon imitation, nor critics

of such authority as might restrain his extravagance: he therefore indulged his natural disposition, and his disposition, as Rymer has remarked, led him to comedy. In tragedy he often writes with great appearance of toil and study, what is written at last with little felicity; but in his comic scenes, he seems to produce without labour, what no labour can improve. In tragedy he is always struggling after some occasion to be comic, but in comedy he seems to repose, or to luxuriate, as in a mode of thinking congenial to his nature. In his tragic scenes there is always something wanting, but his comedy often surpasses ex. pectation or desire. His comedy pleases by the thoughts and the language, and his tragedy for the greater part by incident and action. His tragedy seems to be skill, his comedy to be Instinct.

The force of his comic scenes has suffered little diminution

from the changes made by a century and a half, in manners or in words. As his personages aet upon principles arising from genuine passion,

very little modified by particular forms, their pleasures and vexations are communicable to all times and to all places; they are natural, and therefore durable; the adventitions peculiarities of personal habits, are only superficial dies, bright and pleasing for a little while, yet soon fading to a dim tinct, without any remains of former lustre; but the discrimination of true passion are the colonrs of pature; they pervade the whole mass, and can only perish with the body that exhibits them. The accidental compositions of heterogeneous modes are dissolved by the chance that combined them; but the uniform simplicity of primitive qualities neither admits increase, nor suffers decay. The sand heaped by one flood is scattered by another, but the rock always continues in its place. The stream of time, which is continually washing the dissoluble fabrics of other poets, passes without injury by the adamant of Shakspeare.

If there be, what I believe there is, in every nation, a style which never becomes obsolete, a certain mode of phraseology to consonant and congenial to the analogy and principles of its style is probably to be sought in the common

intercourse of life, respective language, as to remain settled and unaltered: this among those who speak only to be understood, without ambition of elegance. The polite are always catching modish inpovations, and the learned depart from established forms of speech, in hope of finding or making better; those who wish for distinction forsake the vulgar, when the vulgar is right: but there is a conversation above grossness and below refinement, where propriety resides, and where this poet seems to have gathered his comic dialogue. He is therefore more agreeable to the ears of the present age than any other author equally remote, and among his other excellencies deserves to be studied as one of the original masters of our language.

These observations are to be considered not as unexceptionably constant, but as containing general and predominant truth. Shakspeare's familiar dialogue is affirmed to be smooth and clear, yet not wholly without ruggedness or difficulty: as a country may be eminently fruitful though it has spots unfit for cultivation: his characters are praised as natural, though their sentiments are sometimes forced, and their actions improbable; as the earth upon the whole is spherical, thongh its surface is varied with protuberances and cavities.

Shakspeare with his excellencies has likewise faults, and faults sufficient to obscure and overwhelm any other merit. I shall show them in the proportion in which they appear to me, without envious malignity or superstitions veneration. No question can be more innocently discussed than a dead poet: pretensions to renown; and little regard is due to that bigotry which sets candour higher than truth.

His first defect is that to which may be imputed most of the evil in books or in men. He sacrifices virtue to convenience, and is so much more careful to please than to instruct, that he seems to write without any moral purpose. From his writings indeed a system of social duty may be selected, for he that thinks reasonably must think morally; but his precepts and axioms drop casually from him; he makes no just distribation of good or evil, nor is always careful to show in the virtuous a disapprobation of the wicked; he carries his persons indifferently through right and wrong, and at the close dismisses them without further care, and leaves their examples to operate by chance. This fault the barbarity of his age cannot extenuate; for it is always a writer's dnty to make the world better, and justice is a virtue independent on time or place.

The plots are often so loosely formed, that a very slight consideration may improve them, and so carelessly pursued, that he seems not always fully to comprehend his own design. He omits opportunities of instructing or delighting, which the train of his story seems to force upon him, and apparently rejects those exhibitions which would be more affecting, for the sake of those which are more easy:

It may be observed, that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and in view of his reward, he shortened the labour to snatch at the profit. He therefore remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.

He had no regard to distinction of time or place, but gives to one age or nation, without scruple, the chstoms, institutions, and opinions of another, at the expense not only of likelihood, but of possibility. These faults Pope has endeavoured, with more zeal than judgment, to transfer to his imagined interpolators. We need not to wonder to find Hector quoting Aristotle, when we see the loves of Theseus and Hippolyta combined with the Gothic mythology of fairies. Shakspeare, indeed, was not the only violater of chronology, for in the same age Sidney who wanted not the advantages of learning, has, in his Arcadia, confounded the pastoral with the feudal times, the days of innocence, quiet, and security, with those of turbulence, violence, and adventure.

In his comic scenes, he is seldom very successful, when he engages his characters in reciprocations of smartness and contests of sarcasm ; their jests are commonly gross, and their pleasantry licentious; neither his gentlemen nor his ladies have much delicacy, nor are sufficiently distinguished from his clowns by any appearance of refined manners. Whether he represented the real conversation of his time is not easy to determine; the reign of Elizabeth is commonly supposed to have been a time of stateliness, formality, and reserve, yet perhaps the relaxations of that severity were not very elegant. There must, however, have been always some modes

of gayety preferable to others, and a writer ought to choose the best.

In tragedy his performance seems constantly to be worse, as his labour is more. The effusions of passion, which exigence forces out, are for the most part striking and energetic; but whenever he solicits his invention, or strains his faculties, the Offspring of his throes is tumour, meanness, tediousness, and obscurity.

In narration he affects a disproportionate pomp of diction, and a wearisome train of circumlocution, and tells the incident imperfectly in many words, which might have been more plainly

delivered in few. Narration in dramatic poetry is naturally tedious, as it is gnanimated and inactive, and obstructs the progress of the action; it should therefore always be rapid, and enlivened by frequent interruption. Shakspeare found it an incnmberance, and instead of lightening it by brevity, endeavoured to recommend it by dignity and splendour.

His declamations or set speeches are commonly cold and weak, for his power was the power of nature;

when he endeavoured, like other tragic writers, to catch opportunities of amplification, and instead of inquiring what the occasion demanded, to show how much his stores of knowledge could supply, he seldom escapes without the pity or resentment of his reader,

It is incident to him to be now and then entangled with an unwieldy sentiment, which he cannot well express, and will not reject; he struggles with it awhile, and if it continues stubborn, comprises it in words such as occur, and leaves it to be disentangled and evolved by those who have more leisure to bestow upon it.

Not that always where the language is intricate, the thought is subtle, or the image always great where the line is bulky; the equality of words to things is very often neglected, and trivial sentiments and vulgar ideas disappoint the attention, to which they are recommended by sonorous epithets and swelling figures.

But the admirers of this great poet have most reason to com. plain when he approaches nearest to his highest excellence, and seems fully resolved to sink them in dejection, and molify them with tender emotions by the fall of greatness, the danger of innocence, or the crosses of love. What he does best, he soon ceases to do*. He is not long soft and pathetic without some idle conceit, or contemptible equivocation. He no sooner begins to move, than he counteracts himself; and terror and pity, as they are rising in the mind, are checked and blasted by sudden frigidity.

Å quibble is to Shakspeare, what luminous vapours are to the traveller; he follows it at all adventures; it is sure to lead him out of his way, and sure to engulf him in the mire. It has some malignant power over his mind, and its fascinations are irre. sistible. Whatever be the dignity or profundity

of his disquisitions,

whether he be enlarging knowledge, or exalting affection, whether he be amusing attention with incidents, or enchanting it in suspense, let but a quibble spring up before him, and he leaves his work unfinished. A quibble is the golden apple for which he will always turn aside from his career, or stoop from his elevation. A quibble, poor and barren as it is, gave him sich delight, that he was content to purchase it by the sacrifice of reason, propriety, and truth. A quibble was to him the fatal Cleopatra for which he lost the world, and was content to lose it. : * "But the admirers of this great poet have never less reason to indulge their hopes of supreme excellence, than when he seems fully resolved to sink them in dejection, and mollify them with tender emotions by the fall of greatness, the danger of innocence, or the crosses of love. He is not long soft and pathetic, &c.”

Orig. Edit. 1765.

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