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The Comedy of Errors is confessedly taken from the Menæchmi of Plautus; from the only play of Plautus which was then in English. What can be more probable, than that he who copied that, would have copied more; but that those which were not translated were inaccessible ?
Whether he knew the modern languages is uncertain. That his plays have some French scenes proves but little; he might easily procure them to be written, and probably, even though he had known the language in the conimon degree, he could not have written it without affistance. In the story of Romeo and Juliet he is observed to have followed the English translation, where it deviates from the Italian; but this on the other part proves nothing against his knowledge of the original. He was to copy, not what he knew himself, but what was known to his audience.
It is most likely that he had learned Latin fufficiently to make him acquainted with construction, but that he never advanced to an easy perufal of the Roman authors. Concerning his skill in modern languages, I can find no sufficient ground of determination ; but as no imitations of French or Italian authors have been discovered, though the Italian poetry was then high in esteem, I am inclined to believe, that he read little more than English, and chose for his fables only such tales as he found translated.
That much knowledge is scattered over his works is very justly observed by Pope, but it is often such Vol. I. [C]
knowknowledge as books did not supply. He that will understand Shakespeare, must not be content to study him in the closet, he must look for his meaning soinetimes among the sports of the field, and sometimes among the inanufactures of the shop.
There is however proof enough that he was a very diligent reader, nor was our language then so indigent of books, but that he might very liberally indulge his curiosity without excursion into foreign literature. Many of the Roman authors were translated, and some of the Greek; the Reformation had filled the kingdom with theological learning; most of the topicks of human disquisition had found Evglish writers; and poetry had been cultivated, not only with diligence, but success. This was a stock of knowledge sufficient for a mind so capable of appropriating and improving it.
But the greater part of his excellence was the product of his own genius. He found the English stage in a state of the utmost rudeness; no essays either in tragedy or comedy had appeared, from which it could be discovered to what degree of delight either one or other might be carried. Neither character nor dialogue were yet understood. Shakespeare may be truly said to have introduced them both amongst us, and in some of his happier scenes to have carried them both to the utmost height.
By what gradations of improvement he proceeded, is not easily known; for the chronology of his works is yet untettled. Rowe is of opinion, that perhaps
We we are not to look for his beginning, like those of other writers, in his least perfe&t works; art had so little, and nature fo large a share in what he did, that for ought I know, says he, the performances of his youth, as they were the most vigorous, were the best. But the power of nature is only the power of using to any certain purpose the materials which diligence procures, or opportunity supplies. Nature gives no man know- ! ledge, and when images are collected by study and ; experience, can only aslift in combining or applying them. Shakespeare, however favoured by nature, could impart only what he had learned; and as he must increase his ideas, like other mortals, by gradual acquisition, he, like them, grew wiser as he grew older, could display life better, as he knew it more, and instruct with more efficacy, as he was himself more amply instructed.
There is a vigilance of observation and accuracy of distinction which books and precepts cannot confer; from this almost all original and native excel. lence proceeds. Shakespeare must have looked upon mankind with perspicacity, in the highest degree curious and attentive. Other writers borrow their characters from preceding writers, and diversify them only by the accidental appendages of present manners; the dress is a little varied, but the body is the same. Our author had both matter and form to provide; for, except the characters of Chaucer, to whom I think he is not much indebted, there were no writers in English, and perhaps not many in other modern languages, which shewed life in its native colours. 
The contest about the original benevolence or malignity of man had not yet commenced. Speculation had not yet attempted to analyse the mind, to trace the passions to their sources, to unfold the seminal principles of vice and virtue, or sound the depths of the heart for the motives of action. All those enquiries, which from that time. that human nature became the fashionable study, have been made some, times with rice discernment, but often with idle subtilty, were yet unattempted. The tales, with which the infancy of learning was satisfied, exhibited only the superficial appearances of action, related the events, but omitted the causes, and were formed for such as delighted in wonders rather than in truth. Mankind was not then to be studied in the closet; he that would know the world, was under the necessity of gleaning his own remarks, by mingling as he could in its business and amusements.
Boyle congratulated himself upon his high birth, because it favoured his curiosity, by facilitating his access. Shakespeare had no such advantage; he came to London a needy adventurer, and lived for a time by very mean employments. Many works of genius and learning have been performed in states of life that appear very little favourable to thought or to enquiry; so many, that he who considers them is inclined to think that he sees enterprize and perfeverance predominating over all external agency, and bidding help and hindrance vanish before them. The genius of Shakespeare was not to be depressed by the weight of poverty, nor limited by the narrow conversation to which men in want are inevitably con
demned; the incumbrances of his fortune were shaken from his mind; as dew-drops from a lion's
Though he had so many difficulties to encounter, and so little assistance to surmount them, he has been able to obtain an exact knowledge of many modes of life, and many casts of native dispositions; to vary them with great multiplicity; to mark them by nice distinctions; and to thew them in full view by proper combinations. In this part of his performances he had ñone to imitate, but has been himself imitated by all succeeding writers; and it may be doubted, whether from all his successors more maxims of theoretical knowledge, or more rules of practical prudence, can be collected, than he alone has given to his country.
Nor was his attention confined to the actions of men ; he was an exact surveyor of the inanimate world; his defcriptions have always some peculiarities, gathered by contemplating things as they really exift. It may be observed, that the oldest poets of many nations preserve their reputation, and .. that the following generations of wit, after a short celebrity, sink into oblivion. The first, whoever they be, must take their sentiments and descriptions immediately from knowledge; the resemblance is therefore just, their descriptions are verified by every eye, and their sentiments acknowledged by every breast. Those whom their fame invites to the same studies, copy partly them, and partly nature, till the books of one age gain such authority, as to stand in [C3]