OUTLINE OF

AN INTRODUCTORY LECTURE

OF

UPON SHAKESPEARE.

F that species of writing termed tragi-comedy, much has been produced and doomed to the shelf. Shakespeare's comic are continually reacting upon his tragic characters. Lear, wandering amidst the tempest, has all his feelings of distress increased by the overflowings of the wild wit of the Fool, as vinegar poured upon wounds exacerbates their pain. Thus, even his comic humour tends to the development of tragic passion.

The next characteristic of Shakespeare is his keeping at all times in the high road of life, &c. Another evidence of his exquisite judgment is, that he seizes hold of popular tales; Lear and the Merchant of Venice were popular tales, but are so excellently managed, that both are the representations of men in all countries and of all times.

His dramas do not arise absolutely out of some one extraordinary circumstance, the scenes may stand independently of any such one connecting incident, as faithful representations of men and manners. In his mode of drawing characters there are no pompous descriptions of a man by himself; his character is to be drawn, as in real life, from the whole course of the play, or out of the mouths of his enemies or friends. This may

be exemplified in Polonius, whose character has been often misrepresented. Shakespeare never intended him for a buffoon, &c.

Another excellence of Shakespeare, in which no writer equals him, is in the language of nature. So correct is it, that we can see ourselves in every page. The style and manner have also that felicity, that not a sentence can be read, without its being discovered if it is Shakespearian. In observation of living characters-of landlords and postilions-Fielding has great excellence; but in drawing from his own heart, and depicting that species of character, which no observation could teach, he failed in comparison with Richardson, who perpetually places himself, as it were, in a day-dream. Shakespeare excels in both. Witness the accuracy of character in Juliet's name; while for the great characters of Iago, Othello, Hamlet, Richard III., to which he could never have seen anything similar, he seems invariably to have asked himself-How should I act or speak in such circumstances? His comic characters are also peculiar. A drunken constable was not common; but he makes folly a vehicle for wit, as in Dogberry: everything is a sub-stratum on which his genius can erect the mightest superstructure.

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To distinguish that which is legitimate in Shakespeare from what does not belong to him, we must observe his varied images symbolical of novel truth, thrusting by, and seeming to trip up each other, from an impetuosity of thought, producing a flowing metre, and seldom closing with the line. In Pericles, a play written fifty years before, but altered by Shakespeare, his additions may be recognised to half a line, from the metre,

which has the same perfection in the flowing continuity of interchangeable metrical pauses in his earliest plays, as in Love's Labour's Lost.

Lastly, contrast his morality with the writers of his own or of the succeeding age, &c. If a man speak injuriously of our friend, our vindication of him is naturally warm. Shakespeare has been accused of profaneness. I for my part have acquired from perusal of him, a habit of looking into my own heart, and am confident that Shakespeare is an author of all others the most calculated to make his readers better as well as wiser.

Shakespeare, possessed of wit, humour, fancy, and imagination, built up an outward world from the stores within his mind, as the bee finds a hive from a thousand sweets gathered from a thousand flowers. He was not only a great poet but a great philosopher. Richard III., Iago, and Falstaff are men who reverse the order of things, who place intellect at the head, whereas it ought to follow, like Geometry, to prove and to confirm. No man, either hero or saint, ever acted from an unmixed motive; for let him do what he will rightly, still Conscience whispers "it is your duty." Richard, laughing at conscience and sneering at religion, felt a confidence in his intellect, which urged him to commit the most horrid crimes, because he felt himself, although inferior in form and shape, superior to those around him; he felt he possessed a power which they had not. Iago, on the same principle, conscious of superior intellect, gave scope to his envy, and hesitated not to ruin a gallant, open, and generous friend in the moment

of felicity, because he was not promoted as he expected. Othello was superior in place, but Iago felt him to be inferior in intellect, and, unrestrained by conscience, trampled upon him. Falstaff, not a degraded man of genius, like Burns, but a man of degraded genius, with the same consciousness of superiority to his companions, fastened himself on a young Prince, to prove how much his influence on an heir-apparent would exceed that of a statesman. With this view he hesitated not to adopt the most contemptible of all characters, that of an open and professed liar: even his sensuality was subservient to his intellect: for he appeared to drink sack, that he might have occasion to show off his wit. One thing, however, worthy of observation, is the perpetual contrast of labour in Falstaff to produce wit, with the ease with which Prince Henry parries his shafts; and the final contempt which such a character deserves and receives from the young king, when Falstaff exhibits the struggle of inward determination with an outward show of humility.

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ORDER OF SHAKESPEARE'S

VA

PLAYS.

ARIOUS attempts have been made to arrange the plays of Shakespeare, each according to its priority in time, by proofs derived from external documents. How unsuccessful these attempts have been might easily be shewn, not only from the widely different results arrived at by men, all deeply versed in the black-letter books, old plays, pamphlets, manuscript records, and catalogues of that age, but also from the fallacious and unsatisfactory nature of the facts and assumptions on which the evidence rests. In that age, when the press was chiefly occupied with controversial or practical divinity, when the law, the Church, and the State engrossed all honour and respectability, ---when a degree of disgrace, levior quædam infamiæ macula, was attached to the publication of poetry, and even to have sported with the Muse, as a private relaxation, was supposed to be-a venial fault, indeed, yet something beneath the gravity of a wise man,—when the professed poets were so poor, that the very expenses of the press demanded the liberality of some wealthy individual, so that two-thirds of Spenser's poetic works, and those most highly praised by his learned admirers and friends, remained for many years in manuscript, and in manuscript perished,-when the amateurs of the stage were comparatively few, and therefore for the greater part more or less known to each