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History' was a series of actions, with no other than chronological succession, independent of each other, and without any tendency to introduce or regulate the conclufion. 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, Shakespeare'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 fit filenc with quiet expectation, in tranquillity without indifference.
When Shakespeare's plan is understood, most of the criticisms of Rhymer and Voltaire vanish away. The play of Ilamlet is opened, without impropriety, by two sentine's; 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 Grave-diggers themselves may be heard with applause.
Shakespeare engaged in dramatick poetry with the world open before him; the rules of the ancients were yet known to few; the publick judgment was unformed; he had no example of such fame as might force him upon imitation, nor criticks of such authority as might restrain his extravagance: He therefore indulged his natural disposition, and his disposition, as Rhymer 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 comick scenes, he seems to produce without labour, what no labour can improve. In tragedy he is always struggling after fome occasion to be comick, but in comedy ' he seems to repose, or to luxuriate, as in a mode of thinking congenial to his
In his tragick scenes there is always something wanting, but his comedy often surpasses expectation 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 comick scenes has suffered licele diminution from the changes made by a century and a half, in manners or in words. As his personages act 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 adventitious 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 discriminations of true passion are the colours of nature ; they pervade the whole mass, and can only perish with the body that exhibits them. The accidental compositions of heterogeneous modes are diffolved by the chance which combined them; but the uniform fimplicity of primitive qualities neither admits increase, nor suffers decay. The sand heaped by one food is scattered by another, but the rock always continues in its place. The stream of time, which is continually washing the diffoluble fabricks of other poets, paffes without injury by the adamant of Shakespeare.
If there be, what I believe there is, in every nation, a ftile which never becomes obsolete, a certain mode of phraseology so consonant and congenial to the analogy and principles of its respective language as to remain settled and unaltered; this stile is probably to be fought in the common intercourse of life, among those who speak only to be understood, without ambition of elegance. The polite are always catching modith innovations, 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 poct seems to have gathered his comick dialogue. He is therefore more agreeable to the ears of the present age than any other authour equally remote, and among his other excel
lencies deserves to be studied as one of the original masters of our language.
These observations are to be considered not as un. exceptionably constant, but as containing general and predominant truth. Shakespeare'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 fometimes forced, and their actions improbable; as the earth upon the whole is spherical, though its surface is varied with protuberances and cavities.
Shakespeare with his excellencies has likewise faults, and faults sufficient to obscure and overwhelm any other merit. I shall shew them in the proportion in which they appear to me, without envious malignity or superstitious veneration. No question can be more innocently discussed than a dead poet's 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 distribution of good or evil, nor is al
ways careful to Mew 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 duty to make the world better, and justice is a virtue independant on time or place.
The plots are often fo loosely formed, that a very flight 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 leens 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 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 customs, inftitutions, and opinions of another, at the expence not only of likelihood, but of poffibility. These faults Pope has endeavoured, with more zeal than judgment, to transfer to his imagined interpolators. We need not wonder to find Hector