livened imagination, cannot be the language of anguish or diftrefs. Otway, fenfible of this, has painted a scene of distress in colours finely adapted to the fubject: there is scarce a figure in it, except a fhort and natural fimile with which the speech is introduced. Belvidera talking to her father of her husband : Think you faw what paft at our last parting; For he yet lov'd, and that dear love preserv'd me I fear not death, but cannot bear a thought That that dear hand fhould do th' unfriendly office; If I was ever then your care, now hear me; Of his dear friends, ere mine be made the facrifice. To preferve the forefaid resemblance between words and their meaning, the fentiments of active and hurrying paffions ought to be dreffed in words where fyllables prevail that are pronounced VOL. I. Hh fhort fhort or faft; for these make an impreffion of hurry and precipitation. Emotions, on the other hand, that reft upon their objects, are best expreffed by words where fyllables prevail that are pronounced long or flow. A perfon affected with melancholy has a languid and flow train of perceptions: the expreffion beft fuited to this ftate of mind, is where words, not only of long, but of many fyllables abound in the compofition; and for that reafon, nothing can be finer than the following paffage. In those deep folitudes, and awful cells, Pope, Eloifa to Abelard. To preferve the fame refemblance, another circumstance is requifite, that the language, like the emotion, be rough or fmooth, broken or uniform. Calm and fweet emotions are beft expreffed by words that glide foftly: furprise, fear, and other turbulent paffions, require an expreffion both rough and broken. It cannot have escaped any diligent inquirer into nature, that in the hurry of paffion, one generally expreffes that thing firft which is most at heart *: which is beautifully done in the following paffage, *Demetrius Phalereus (of Elocution, fect. 28.) justly obferves, that an accurate adjustment of the words to the thought, so as to make them correfpond in every particular, is only proper for fedate Aubjects; for that paffion speaks plain, and rejects all refinements. Me, Me, me; adfum qui feci: in me convertite ferrum, Eneid. ix. 427. Paffion has often the effect of redoubling words, the better to make them exprefs the ftrong conception of the mind. This is finely imitated in the following examples. Thou fun, faid I, fair light! And thou enlighten'd earth, fo fresh and gay! Tell, if ye faw, how came I thus, how here. Paradife Loft, b. viii, 273. Both have finn'd! but thou Against God only; I, 'gainst God and thee: Me! Me! only juft object of his ire. Paradife Loft, book x. 930. Shakespear is fuperior to all other writers in delineating paffion. It is difficult to fay in what part he most excels, whether in moulding every paffion to peculiarity of character, in discovering the fentiments that proceed from various tones of paffion, or in expreffing properly every different sentiment: he difgufts not his reader with general declamation and unmeaning words, too Hh 2 common common in other writers: his fentiments are adjufted, with the greatest propriety, to the peculiar character and circumftances of the speaker; and the propriety is not lefs perfect between his fentiments and his diction. That this is no exaggeration, will be evident to every one of taste, upon comparing Shakespear with other writers, in fimilar paffages. If upon any occafion he fall below himself, it is in those scenes where paffion enters not by endeavouring in this cafe to raife his dialogue above the style of ordinary converfation, he fometimes deviates into intricate thought and obfcure expreffion*: fometimes, Of this take the following fpecimen. They clepe us drunkards, and with fwinish phrafe From our atchievements, though perform'd at height, So, oft it chances in particular men, That for fome vicious mole of nature in them, Shall in the general cenfure take corruption 3 Hamlet, act 1. fc. 7. to to throw his language out of the familiar, he em→ ploys rhyme. But may it not in fome measure excufe Shakespear, I fhall not fay his works, that he had no pattern, in his own or in any living language, of dialogue fitted for the theatre? At the fame time, it ought not to escape obfervation, that the stream clears in its progress, and that in his later plays he has attained the purity and perfection of dialogue; an obfervation that, with greater certainty than tradition, will direct us to arrange his plays in the order of time. This ought to be confidered, by thofe who exaggerate every blemish, that is difcovered in the finest genius for the drama ever the world enjoy'd: they ought alfo for their own fake to confider, that it is easier to discover his blemishes, which lie generally at the furface, than his beauties, which cannot be truly relished but by thofe who dive deep into human nature. One thing must be evident to the meanest capacity, that where-ever paffion is to be difplay'd,, Nature fhows itself strong in him, and is confpicuous by the most delicate propriety of fentiment and expreffion *. not *The critics feem not perfectly to comprehend the genius of Shakespear. His plays are defective in the mechanical part, which is lefs the work of genius than of experience; and is no otherwise brought to perfection but by diligently observing the er. rors of former compofitions. Shakespear excels all the ancients and moderns, in knowledge of human nature, and in unfolding even the moft obfcure and refined emotions. This is a rare faculty, and of the greatest importance in a dramatic author; and it is this faculty which makes him furpass all other writers in the comic as well as tragic vein. |