Moreover Shakspeare had shown that he possessed fancy, considered as the faculty of bringing together images dissimilar in the main by some one point or more of likeness, as in such a passage as this:

Full gently now she takes him by the hand,

A lily prisoned in a jail of snow,

Or ivory in an alabaster band:

So white a friend ingirts so white a foe!-Ib.

And still mounting the intellectual ladder, he had as unequivo cally proved the indwelling in his mind of imagination, or the power by which one image or feeling is made to modify many others, and by a sort of fusion to force many into one;—that which afterwards showed itself in such might and energy in Lear, where the deep anguish of a father spreads the feeling of ingratitude and cruelty over the very elements of heaven ;—and which, combining many circumstances into one moment of consciousness, tends to produce that ultimate end of all human thought and human feeling, unity, and thereby the reduction of the spirit to its principle and fountain, who is alone truly one. Various are the workings of this the greatest faculty of the human mind, both passionate and tranquil. In its tranquil and purely pleasurable operation, it acts chiefly by creating out of many things, as they would have appeared in the description of an ordinary mind, detailed in unimpassioned succession, a oneness, even as nature, the greatest of poets, acts upon us, when we open our eyes upon an extended prospect. Thus the flight of Adonis in the dusk of the evening :

Look! how a bright star shooteth from the sky;
So glides he in the night from Venus' eye!

How many images and feelings are here brought together without effort and without discord, in the beauty of Adonis, the rapidity of his flight, the yearning, yet hopelessness, of the enamored gazer, while a shadowy ideal character is thrown over the whole! Or this power acts by impressing the stamp of humanity, and of human feelings, on inanimate or mere natural objects:— Lo! here the gentle lark, weary of rest, From his moist cabinet mounts up on high,

And wakes the morning, from whose silver breast
The sun ariseth in his majesty.

Who doth the world so gloriously behold,

The cedar-tops and hills seem burnish'd gold.

Or again, it acts by so carrying on the eye of the reader as to make him almost lose the consciousness of words, to make him see every thing flashed, as Wordsworth has grandly and appropriately said,

Flashed upon that inward eye
Which is the bliss of solitude;-

and this without exciting any painful or laborious attention, without any anatomy of description (a fault not uncommon in descriptive poetry)—but with the sweetness and easy movement of nature. This energy is an absolute essential of poetry, and of itself would constitute a poet, though not one of the highest class;—it is, however, a most hopeful symptom, and the Venus and Adonis is one continued specimen of it.

In this beautiful poem there is an endless activity of thought in all the possible associations of thought with thought, thought with feeling, or with words, of feelings with feelings, and of words with words.

Even as the sun, with purple-color'd face,

Had ta'en his last leave of the weeping morn,
Rose-cheek'd Adonis hied him to the chase:
Hunting he loved, but love he laughed to scorn.
Sick-thoughted Venus makes amain unto him,
And like a bold-faced suitor 'gins to woo him.

Remark the humanizing imagery and circumstances of the first two lines, and the activity of thought in the play of words in the fourth line. The whole stanza presents at once the time, the appearance of the morning, and the two persons distinctly characterized, and in six simple verses puts the reader in possession of the whole argument of the poem.

Over one arm the lusty courser's rein,
Under the other was the tender boy,
Who blush'd and pouted in a dull disdain,
With leaden appetite, unapt to toy,
She red and hot, as coals of glowing fire,

He red for shame, but frosty to desire :—

This stanza and the two following afford good instances of that

poetic power, which I mentioned above, of making every thing present to the imagination-both the forms, and the passions which modify those forms, either actually, as in the representations of love, or anger, or other human affections; or imaginatively, by the different manner in which inanimate objects, or objects unimpassioned themselves, are caused to be seen by the mind in moments of strong excitement, and according to the kind of the excitement,—whether of jealousy, or rage, or love, in the only appropriate sense of the word, or of the lower impulses of our nature, or finally of the poetic feeling itself. It is, perhaps, chiefly in the power of producing and reproducing the latter that the poet stands distinct.

The subject of the Venus and Adonis is unpleasing; but the poem itself is for that very reason the more illustrative of Shakspeare. There are men who can write passages of deepest pathos and even sublimity, on circumstances personal to themselves, and stimulative of their own passions; but they are not, therefore, on this account poets. Read that magnificent burst of woman's patriotism and exultation, Deborah's song of victory; it is glorious, but nature is the poet there. It is quite another matter to become all things and yet remain the same,-to make the changeful god be felt in the river, the lion and the flame;—this it is, that is the true imagination. Shakspeare writes in this poem, as if he were of another planet, charming you to gaze on the movements of Venus and Adonis, as you would on the twinkling dances of two vernal butterflies.

Finally, in this poem and the Rape of Lucrece, Shakspeare gave ample proof of his possession of a most profound, energetic, and philosophical mind, without which he might have pleased, but could not have been a great dramatic poet. Chance and the necessity of his genius combined to lead him to the drama his proper province in his conquest of which we should consider both the difficulties which opposed him, and the advantages bv which he was assisted.

SHAKSPEARE'S JUDGMENT EQUAL TO HIS GENIUS.

Thus then Shakspeare appears, from his Venus and Adonis and Rape of Lucrece alone, apart from all his great works, to have possessed all the conditions of the true poet. Let me now pro

ceed to destroy, as far as may be in my power, the popular notion that he was a great dramatist by mere instinct, that he grew immortal in his own despite, and sank below men of second or third-rate power, when he attempted aught beside the dramaeven as bees construct their cells and manufacture their honey to admirable perfection; but would in vain attempt to build a nest. Now this mode of reconciling a compelled sense of inferiority with a feeling of pride, began in a few pedants, who having read that Sophocles was the great model of tragedy, and Aristotle the infallible dictator of its rules, and finding that the Lear, Hamlet, Othello, and other master-pieces were neither in imitation of Sophocles, nor in obedience to Aristotle,—and not having (with one or two exceptions) the courage to affirm, that the delight which their country received from generation to generation, in defiance of the alterations of circumstances and habits, was wholly groundless,-took upon them, as a happy medium and refuge, to talk of Shakspeare as a sort of beautiful lusus naturæ, a delightful monster,-wild, indeed, and without taste or judgment, but like the inspired idiots so much venerated in the East, uttering, amid the strangest follies, the sublimest truths. In nine places out of ten in which I find his awful name mentioned, it is with some epithet of "wild," "irregular," "pure child of nature," &c. If all this be true, we must submit to it; though to a thinking mind it can not but be painful to find any excellence, merely human, thrown out of all human analogy, and thereby leaving us neither rules for imitation, nor motives to imitate;-but if false, it is a dangerous falsehood ;-for it affords a refuge to secret selfconceit,-enables a vain man at once to escape his reader's indignation by general swoln panegyrics, and merely by his ipse dixit to treat, as contemptible, what he has not intellect enough to comprehend, or soul to feel, without assigning any reason, or referring his opinion to any demonstrative principle; thus leaving Shakspeare as a sort of grand Lama, adored indeed, and his very excrements prized as relics, but with no authority or real influence. I grieve that every late voluminous edition of his works would enable me to substantiate the present charge with a variety of facts, one tenth of which would of themselves exhaust the time allotted to me. Every critic, who has or has not made a collection of black-letter books-in itself a useful and respectable amusement,-puts on the seven-league boots of self-opinion, and

strides at once from an illustrator into a supreme judge, and blind and deaf, fills his three-ounce phial at the waters of Niagara ; and determines positively the greatness of the cataract to be neither more nor less than his three-ounce phial has been able to receive.

I think this a very serious subject. It is my earnest desiremy passionate endeavor,-to enforce at various times, and by various arguments and instances, the close and reciprocal connection of just taste with pure morality. Without that acquaintance with the heart of man, or that docility and childlike gladness to be made acquainted with it, which those only can have, who dare look at their own hearts-and that with a steadiness which religion only has the power of reconciling with sincere humility; -without this, and the modesty produced by it, I am deeply convinced that no man, however wide his erudition, however patient his antiquarian researches, can possibly understand, or be worthy of understanding, the writings of Shakspeare.

Assuredly that criticism of Shakspeare will alone be genial which is reverential. The Englishman, who, without reverence, a proud and affectionate reverence, can utter the name of William Shakspeare, stands disqualified for the office of critic. He wants one at least of the very senses, the language of which he is to employ, and will discourse at best, but as a blind man, while the whole harmonious creation of light and shade with all its subtle interchange of deepening and dissolving colors rises in silence to the silent fiat of the uprising Apollo. However inferior in ability I may be to some who have followed me, I own I am proud that I was the first in time who publicly demonstrated to the full extent of the position, that the supposed irregularity and extravagances of Shakspeare were the mere dreams of a pedantry that arraigned the eagle because it had not the dimensions of the swan. In all the successive courses of lectures delivered by me, since my first attempt at the Royal Institution, it has been, and it still remains, my object, to prove that in all points from the most important to the most minute, the judgment of Shakspeare is commensurate with his genius-nay, that his genius reveals itself in his judgment, as in its most exalted form. And the more gladly do I recur to this subject from the clear conviction, that to judge aright, and with distinct consciousness of the grounds of our judgment, concerning the works of Shakspeare,