only as a picture; while a forest-scene is not presented to the spectators as a picture, but as a forest; and though, in the full sense of the word, we are no more deceived by the one than by the other, yet are our feelings very differently affected; and the pleasure derived from the one is not composed of the same elements as that afforded by the other, even on the supposition that the quantum of both were equal. In the former, a picture, it is a condition of all genuine delight that we should not be deceived; in the latter, stage-scenery (inasmuch as its principle end is not in or for itself, as is the case in a picture, but to be an assistance and means to an end out of itself), its very purpose is to produce as much illusion as its nature permits. These, and all other stage presentations, are to produce a sort of temporary half-faith, which the spectator encourages in himself and supports by a voluntary contribution on his own part, because he knows that it is at all times in his power to see the thing as it really is. I have often observed that little children are actually deceived by stagescenery, never by pictures; though even these produce an effect on their impressible minds, which they do not on the minds of adults. The child, if strongly impressed, does not indeed positively think the picture to be the reality; but yet he does not think the contrary. As Sir George Beaumont was shewing me a very fine engraving from Rubens, representing a storm at sea without any vessel or boat introduced, my little boy, then about five years old, came dancing and singing into the room, and all at once (if I may so say) tumbled in upon the print. the print. He instantly started, stood silent and motionless, with the strongest ex

pression, first of wonder and then of grief in his eyes and countenance, and at length said "And where is the ship? But that is sunk, and the men. are all drowned!" still keeping his eyes fixed on the print. Now what pictures are to little children, stage illusion is to men, provided they retain any part of the child's sensibility; except, that in the latter instance, the suspension of the act of comparison, which permits this sort of negative belief, is somewhat more assisted by the will, than in that of a child respecting a picture.

The true stage-illusion in this and in all other things consists-not in the mind's judging it to be a forest, but, in its remission of the judgment that it is not a forest. And this subject of stage-illusion is so important, and so many practical errors and false criticisms may arise, and indeed have arisen, either from reasoning on it as actual delusion (the strange notion, on which the French critics built up their theory, and on which the French poets justify the construction of their tragedies), or from denying it altogether (which seems the end of Dr. Johnson's reasoning, and which, as extremes meet, would lead to the very same consequences, by excluding whatever would not be judged probable by us in our coolest state of feeling, with all our faculties in even balance), that these few remarks will, I hope, be pardoned, if they should serve either to explain or to illustrate the point. For not only are we never absolutely deluded-or any thing like it, but the attempt to cause the highest delusion possible to beings in their senses sitting in a theatre, is a gross fault, incident only to low minds, which, feeling that they cannot affect the heart or head permanently, endeavour to

call forth the momentary affections. There ought never to be more pain than is compatible with coexisting pleasure, and to be amply repaid by thought.

Shakespeare found the infant stage demanding an intermixture of ludicrous character as imperiously as that of Greece did the chorus, and high language accordant. And there are many advantages in this;-a greater assimilation to nature, a greater scope of power, more truths, and more feelings; the effects of contrast, as in Lear and the Fool; and especially this, that the true language of passion becomes sufficiently elevated by your having previously heard, in the same piece, the lighter conversation of men under no strong emotion. The very nakedness of the stage, too, was advantageous, for the drama thence became something between recitation and a representation; and the absence or paucity of scenes allowed a freedom from the laws of unity of place and unity of time, the observance of which must either confine the drama to as few subjects as may be counted on the fingers, or involve gross improbabilities, far more striking than the violation would have caused. Thence, also, was precluded the danger of a false ideal,-of aiming at more than what is possible on the whole. What play of the ancients, with reference to their ideal, does not hold out more glaring absurdities than any in Shakespeare? On the Greek plan a man could more easily be a poet than a dramatist; upon our plan more easily a dramatist than a poet.

THE DRAMA GENERALLY, AND

UNACC

PUBLIC TASTE.

NACCUSTOMED to address such an audience, and having lost by a long interval of confinement the advantages of my former short schooling, I had miscalculated in my last Lecture the proportion of my matter to my time, and by bad economy and unskilful management, the several heads of my discourse failed in making the entire performance correspond with the promise publicly circulated in the weekly annunciation of the subjects to be treated. It would indeed have been wiser in me, and perhaps better on the whole, if I had caused my Lectures to be announced only as continuations of the main subject. But if I be, as perforce I must be, gratified by the recollection of whatever has appeared to give you pleasure, I am conscious of something better, though less flattering, a sense of unfeigned gratitude for your forbearance with my defects. Like affectionate guardians, you see without disgust the awkwardness, and witness with sympathy the growing pains, of a youthful endeavour, and look forward with a hope, which is its own reward, to the contingent results of practice—to its intellectual maturity.

In my last address I defined poetry to be the art, or whatever better term our language may afford, of representing external nature and human thoughts, both relatively to human affections, so as

to cause the production of as great immediate pleasure in each part, as is compatible with the largest possible sum of pleasure on the whole. Now this definition applies equally to painting and music as to poetry; and in truth the term poetry is alike applicable to all three. The vehicle alone constitutes the difference; and the term "poetry" is rightly applied by eminence to measured words, only because the sphere of their action is far wider, the power of giving permanence to them much more certain, and incomparably greater the facility, by which men, not defective by nature or disease, may be enabled to derive habitual pleasure and instruction from them. On my mentioning these considerations to a painter of great genius, who had been, from a most honourable enthusiasm, extolling his own art, he was so struck with their truth, that he exclaimed, "I want no other arguments;-poetry, that is, verbal poetry, must be the greatest; all that proves final causes in the world, proves this; it would be shocking to think otherwise!"—And in truth, deeply, O! far more than words can express, as I venerate the Last Judgment and the Prophets of Michel Angelo Buonarotti,-yet the very pain which I repeatedly felt as I lost myself in gazing upon them, the painful consideration that their having been painted in fresco was the sole cause that they had not been abandoned to all the accidents of a dangerous transportation to a distant capital, and that the same caprice, which made the Neapolitan soldiery destroy all the exquisite masterpieces on the walls of the church of Trinitado Monte, after the retreat of their antagonist barbarians, might as easily have made vanish