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those exhibitions which would be more affecting, for the sake of those which are more easy.

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may be observed, that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and in view of his reward, he shortened the labour to snatch the profit. He therefore remits his efforts where he should inoft vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.

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He had no regard to distinction of time or place, but gives to one age or nation, without scruple, the customs, institutions, and opinions of another, at the expence not only of likelihood, but of poffibility. These faults Pope has endeavoured, with more zeal than judgment, to transfer to his imagized in. terpolators. We need not wonder to find Hector quoting Aristotle, when we see the loves of Theseus and Hippolyta combined with the Gothick mythology of fairies. Shakespeare, indeed, was not the only violator of chronology, for in the same age Sidney, who wanted not the advantages of learning, has, in his Arcadia, confounded the pastoral with the feudal times, the days of innocence, quiet, and security, with those of turbulence, violence, and adventure.

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In his comick scenes he is feldom very successful, when he engages his characters in reciprocations of smartness and contests of sarcasm; their jests are commonly gross, and their pleasantry licentious; neither his gentlemen nor his ladies have much delicacy, nor

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are sufficiently distinguished from his clowns by any appearance of refined manners. Whether he represented the real conversation of his time is not easy to determine; the reign of Elizabeth is commonly supposed to have been a time of stateliness, formality, and reserve, yet perhaps the relaxations of that severity were not very elegant. There must, however, have been always some modes of gaiety preferable to others, and a writer ought to chuse the best.

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In tragedy his performance seems constantly to be worse, as his labour is more. The effufions of palfion, which exigence forces out, are for the most part ftriking and energetick; but whenever he solicits his invention, or strains his faculties, the offspring of his throes is tumour, meanness, tediousness, and obfcurity,

In narration he affects a disproportionate pomp of diction, and a wearisome train of circumlocution, and tells the incident imperfectly in many words, which might have been more plainly delivered in few. Narration in dramatick poetry is naturally tedious, as it is unanimated and inactive, and obítructs the progress of the action; it should therefore always be rapid, and enlivened by frequent interruption. Shakespeare found it an encumbrance, and instead of lightening it by brevity, endeavoured to recommend it by dignity and splendor.

His declamations or set speeches are commonly cold and weak, for his power was the power of nature; when he endeavoured, like other tragick Vol. I. [B]

writers,

writers, to catch opportunities of amplification, and
instead of inquiring what the occasion demanded, to
thew how much his stores of knowledge could sup-
ply, he seldom escapes without the pity or resentment
of his reader.

It is incident to him to be now and then entangled with an unwieldy sentiment, which he cannot well express, and will not reject; he struggles with it a while, and if it continues stubborn, comprises it in words such as occur, and leaves it to be disentangled and evolved by those who have more leisure to bestow

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Not that always where the language is intricate the thought is subtle, or the image always great where the line is bulky; the equality of words to things is very often neglected, and trivial sentiments and vulgar ideas disappoint the attention, to which they are recommended by sonorous epithets and swelling figures.

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But the admirers of this great poet have most reason to complain when he approaches nearest to his highest excellence, and seems fully refolved to fink them in dejection, and mollify them with tender emotions by the fall of greatness, the danger of innocence, or the crofiles of love. What he does beít, he soon ceases to do. He is not long soft and pathetick withiout some idle conceit, or contemptible equivocation. He no sooner begins to move, than he counteracts himself; and terror and pity, as they are rising in the mind, are checked and blasted by sudden frigidity.

A quibble

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À quibble is to Shakespeare, what luminous vapours are to the traveller: he follows it at all adven. tures; it is sure to lead him out of his way, and sure to engulf him in the mire. It has some malignant power over his mind, and its fascinations are irresisti. ble. Whatever be the dignity or profundity of his disquisition, whether he be enlarging knowledge or cxalting affection, whether he be amusing attention with incidents, or enchaining it in suspense, let but à quibble spring up before him, and he leaves his work unfinished. A quibble is the golden apple for which he will always turn aside from his career, or stoop from his elevation. A quibble, poor and barren as it is, gave him such delight, that he was content to purchase it, by the facrifice of reason, propriety, and truth. A quibble was to him the fatal Cleopatra for which he lost the world, and was content to lose it.

It will be thought ftrange, that, in enumerating the defects of this writer, I have not yet mentioned his neglect of the unities; his violation of those laws which have been instituted and established by the joint authority of poets and of criticks.

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For his other deviations from the art of writing, I rcfign him to critical justice, without making any other demand in his favour, than that which must be indulged to all human excellence; that his virtues be rated with his failings : but, from the censure which this irregularity may bring upon him, I shall, with due reverence to that learning which I must oppose, adventure to try how I can defend him,

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His histories, being neither tragedies nor comedies, are not subject to any of their laws; nothing more is necessary to all the praise which they expect, than that the changes of action be so prepared as to be understood, that the incidents be various and affecting, and the characters consistent, natural, and distinct. No other unity is intended, and therefore none is to be sought,

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In his other works he has well enough preserved the unity of action. He has not, indeed, an intrigue regularly perplexed and regularly unravelled; he does not endeavour to hide his design only to discover it, for this is seldom the order of real events, and Shakespeare is the poet of nature: but his plan has commonly what Aristotle requires, a beginning, a middle, and an end; one event is concatenated with another, and the conclusion follows by easy consequence, . There are perhaps some incidents that might be spared, as in other poets there is much talk that only fills up time upon the stage; but the general system makes gradual advances, and the end of the play is the end of expectation.

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To the unities of time and place he has shewn no regard; and perhaps a nearer view of the principles on which they stand will diminish their value, and withdraw from them the veneration which, from the time of Corneille, they have very generally received, by discovering that they have given more trouble to the poet, than pleasure to the auditor.

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