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may perhaps account for his being so, without detracting from his ability and judgment in other things.
It is proper to add, that the account of the Midsummer Night's Dream has appeared in another work.
April 15, 1817.
CYMBELINE is one of the most delightful of Shakspeare's historical plays. It may be considered as a dramatick romance, in which the most striking parts of the story are thrown into the form of a dialogue, and the intermediate circumstances are explained by the different speakers, as occasion readers it necessary.
The action is less concentrated in consequence; but the interest becomes more aerial and refined from the principle of perspective introduced into the subject by the imaginary changes of scene as well as by the length of time it occupies. The reading of this play is like going a journey with some uncertain object at the end of it, and in which the suspense is kept up and heightened by the long intervals between each action. Though the events are scattered over such an extent of surface, and relate to such a variety of characters, yet the links which bind the different interests of the story together are never entirely broken. The most straggling and seemingly casual incidents are contrived in such a manner as to lead at last to the most complete development of the catastrophe. The ease and conscious unconcern
with which this is effected only makes the skill more wonderful. The business of the plot evidently thickens in the last act: the story moves forward with increasing rapidity at every step; its various ramifications are drawn from the most distant points to the same centre; the principal characters brought together, and placed in very critical situations; and tbe fate of almost every person in the drama is made to depend on the solution of a single circumstance--the answer of Iachimo to the question of Imogen respecting the obtaining of the ring from Posthumus. Dr. Johnson is of opinion that Shakspeare was generally inattentive to the winding up of his plots. We think the contrary is true; and we might cite in proof of this remark not only the present play, but the conclusion of Lear, of Romeo and Juliet, of Macbeth, of Othello, even of Hamlet, and of other plays of less moment, in which the last act is crowded with decisive events brought about by natural and striking means.
The pathos in CYMBELINE is not violent or tragical, but of the most pleasing and amiable kind. A certain tender gloom o’erspreads the whole. Posthumus is the ostensible hero of the piece, but its greatest charm is the character of Imogen. Posthumus is only interesting from the interest she takes in him, and she is only interesting herself from her tenderness and constancy to her husband. It is the peculiar characteristick of Shakspeare's heroines, that they seem to exist only in their attachment to others. They are pure abstractions of the affections. We think as little of their persons as they do theniselves,
because we are let into the secrets of their hearts, which are more important. We are too much interested in their affairs to stop to look at their faces, except by stealth and at intervals. No one ever hit the true perfection of the female character, the sense of weakness leaning on the strength of its affections for support, so. well as Shakspeare- no one ever so well painted natural tenderness free from affectation and disguisemno one else ever so well shewed how delicacy and timidity, when driven to extremity, grow romantick and extravagant; for the romance of his heroines (in which they abound) is only an excess of the habitual prejudices of their sex, scrupulous of being false to their vows, truant to their affections, and taught by the force of feeling when to forego the forms of propriety for the essence of it. His women were in this respect exquisite logicians; for there is nothing so logical as passion. They knew their own minds exactly; and only followed up a favourite idea, which they had sworn to with their tongues, and which was engraven on their hearts, into its untoward consequences. They were the prettiest little set of martyrs and confessors on record.--Cibber, in speaking of the early English stage, accounts for the want of prominence and theatrical display in Shakspeare's female characters from the circumstance, that women in those days were not allowed to play the parts of women, which made it necessary to keep them a good deal in the background. Does not this state of manners itself, which prevented their exhibiting themselves in publick, and confined them to the relations and charities of