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page, “ His declamations or set speeches are commonly cold and weak, for his power was the power of nature: when he endeavoured, like other tragick writers, to catch opportunities of amplification, and instead of inquiring what the occasion demanded, to shew how much his stores of knowledge could supply, he seldom escapes without the pity or resentment of his reader." Poor Shakspeare ! Between the charges here brought against him, of want of nature in the first instance, and of want of skill in the second, he could hardly escape being condemned. And again, “ But the adınirers of this great poet have most reason to complain when he approaches nearest to his highest excellence, and seems fully resolved to sink them in dejection, or mollify 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 no sooner begins to move than he counteracts himself; and terrour and pity, as they are rising in the mind, are checked and blasted by sudden frigidity.” In all this, our critick seems more bent on maintaining the equilibrium of his style than the consistency or truth of his opinions.- If Dr. Johnson's opinion was right, the following observations on Shakspeare's Plays must be greatly exaggerated, if not ridiculous. If he was wrong, what has been said
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 renders it necessary
The action is less concentrated in consequence; but the interest becomes more aerial and refin. ed 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 hy 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 are brought together, and placed in very critical situations; and the 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 themselves,