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What an image is here given! and what a task would it have been for the greatest masters of Greece and Rome to have expreffed the paffions defigned by this sketch of ftatuary! The ftile of his comedy is, in general, natural to the characters, and eafy in itfelf; and the wit moft commonly fprightly and pleafing, except in thofe places where he runs into doggerel rhimes, as in The Comedy of Errors, and fome other plays. As for his jingling fometimes, and playing upon words, it was the common vice of the age he lived in: and if we find it in the pulpit, made ufe of as an ornament to the fermons of fome of the graveft divines of those times, perhaps it may not be thought too light for the flage.

But certainly the greatness of this author's genius does no where fo much appear, as where he gives his imagination an entire loose, and raises his fancy to a flight above mankind, and the limits of the vifible world. Such are his attempts in The Tempeft, A Midfummer-Night's Dream, Macbeth, and Hamlet. Of thefe, The Tempeft, however it comes to be placed the first by the publishers of his works, can never have been the firft written by him: it feems to me as perfect in its kind, as almoft any thing we have of his. One may obferve, that the unities are kept here, with an exactness uncommon to the liberties of his writing; though that was what, I fuppofe, he valued himself leaft upon, fince his excellencies were all of another kind.

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very fenfible that he does, in this play, depart too much from that likeness to truth which ought to be obfereved in these fort of writings; yet he does it fo very finely, that one is eafily drawn in to have

more faith for his fake, than reafon does well allow of. His magick has fomething in it very folemn, and very poetical; and that extravagant character of Caliban is mighty well fuflained, fhews a wonderful invention in the author, who could ftrike out fuch a particular wild image, and is certainly one of the finest and most uncommon grotefques that ever was seen. The observation, which I have been informed, three very great men concurred in making upon this part was extremely juft; that Shakspeare had not only found out a new character in his Caliban, but had alfo devifed and adapted a new manner of language for that character.

It is the fame magick that 1aifes the Fairies in A Midfummer-Night's Dream, the Witches in Macbeth, and the Ghost in Hamlet, with thoughts and language fo proper to the parts they fuftain, and fo peculiar to the talent of this writer. But of the two laft of these plays I fhall have occafion to take notice, among the tragedies of Mr. Shakspeare. If one undertook to examine the greatcft part of these by those rules which are established by Aristotle, and taken from the model of the Grecian flage, it would be no very hard task to find a great many faults; but as Shakspeare lived under a kind of mere light of nature, and had never been made acquainted with the regularity of those written pre

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- which, I have been informed, three very great men concurred in making--] Lord Falkland, Lord C. J. Vaughan, and Mr. Selden. Rowe.

Dryden was of the fame opinion. "His perfon" (fays he, fpeaking of Caliban,) is monitrous, as he is the product of unnatural luft, and his language is as hobgoblin as his perfon: in all things he is diftinguished from other mortals. Preface to Troilus and Creffida. MALONE.

cepts, fo it would be hard to judge him by a law. he knew nothing of. We are to confider him as a man that lived in a ftate of almoft univerfal licence and ignorance: there was no established judge, but every one took the liberty to write according to the dictates of his own fancy. When one confiders, that there is not one play before him of a reputation good enough to entitle it to an appearance on the prefent ftage, it cannot but be a matter of great wonder that he fhould advance dramatick poetry fo far as he did. The fable is what is generally placed the firft, among those that are reckoned the conftituent parts of a tragick or heroick poem; not perhaps, as it is the moft difficult or beautiful, but as it is the firft properly to be thought of in the contrivance and course of the whole; and with the fable ought to be confidered the fit dispofition, order, and conduct of its feveral parts. it is not in this province of the drama that the ftrength and mastery of Shakspeare lay, fo I fhall not undertake the tedious and ill-natured trouble to point out the feveral faults he was guilty of in it. His tales were feldom invented, but rather taken either from the true hiftory, or novels and romances: and he commonly made ufe of them in that order, with thofe incidents, and that extent of time in which he found them in the authors from whence he borrowed them. So The Winter's Tale, which is taken from an old book, called The Delectable Hiftory of Doraftns and Fawnia, contains the space of fixteen or seventeen years, and the scene is fometimes laid in Bohemia, and fometimes in Sicily, according to the original order of the ftory. Almost all his hiftorical plays comprehend a great

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length of time, and very different and diftin&t places: and in his Antony and Cleopatra, the fcene travels over the greatest part of the Roman empire. But in recompence for his carele ffnefs in this point, when he comes to another part of the drama, the manners of his characters, in acting or Speaking what is proper for them, and fit to be fhewn by the poet, he may be generally justified, and in very many places greatly commended. For those plays which he has taken from the English or Roman hiftory, let any man compare them, and he will find the character as exact in the poet as the hiftorian. He feems indeed fo far from propofing to himself any one action for a fubject, that the title very often tells you, it is The Life of King John, King Richard, &c. What can be more agreeable to the idea our hiftorians give of Henry the Sixth, than the picture Shakspeare has drawn of him! His manners are every where exactly the fame with the ftory; one finds him ftill defcribed with fimplicity, paffive fanctity, want of courage, weaknefs of mind, and eafy fubmiffion to the governance of an imperious wife, or prevailing faction: though at the fame time the poet does justice to his good qualities, and moves the pity of his audience for him, by fhewing him pious, dilinterested, a contemner of the things of this world, and wholly refigned to the fevereft difpenfations of God's providence. There is a fhort fcene in The Second Part of Henry the Sixth, which I cannot but think admirable in its kind. Cardinal Beaufort, who had murdered the Duke of Gloucester, is fhewn in the laft agonies on his death-bed, with the good king praying over him. There is fo much terror in one, fo much tenderness and moving piety in the

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other, as must touch any one who is capable either of fear or pity. In his Henry the Eighth, that prince is drawn with that greatness of mind, and all those good qualities which are attributed to him in any account of his reign. If his faults are not fhewn in an equal degree, and the fhades in this picture do not bear a juft proportion to the lights, it is not that the artift wanted either colours or fkill in the difpofition of them; but the truth, I believe, might be, that he forbore doing it out of regard to queen Elizabeth, fince it could have been no very great respect to the memory of his mistress, to have expofed fome certain parts of her father's life upon the flage. He has dealt much more freely with the minifter of that great king; and certainly nothing was ever more juftly written, than the character of Cardinal Wolfey. He has fhewn him infolent in his profperity; and yet, by a wonderful address, he makes his fall and ruin the fubject of general compaffion. The whole man, with his vices and virtues, is finely and exactly defcribed in the fecond fcene of the fourth act. The diftreffes likewife of Queen Katharine, in this play are very movingly touched; and though the art of the poet has fcreened King Henry from any grofs imputation of injustice, yet one is inclined to wifh, the Queen had met with a fortune more worthy of her birth and virtue. Nor are the manners, proper to the perfons represented, lefs justly observed, in those characters taken from the Roman hiftory; and of this, the fiercenefs and impatience of Coriolanus, his courage and difdain of the common people, the virtue and philofophical temper of Brutus, and the irregular greatnefs of mind in M. Antony, are

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