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\HAT praises are without reason lavished on

the dead, and that the honours due only to

excellence are paid to antiquity, is a complaint likely to be always continued by those, who, being able to add nothing to truth, hope for eminence from the heresies of paradox; or those, who, being forced by disappointment upon consolatory expedients, are willing to hope from pofterity what the present age refuses, and Aatter themselves that the regard, which is yet denied by envy, will be at last bestowed

by time.

Antiquity, like every other quality that attracts the notice of mankind, has undoubtedly votaries that reverence it, not from reason, but from prejudice. Some seem to admire indiscriminately whatever has been long preserved, without confidering that time has sometimes co-operated with chance; all perhaps are more willing to honour past than present excellence; and the mind contemplates genius through the shades of age, as the eye surveys the sun through artificial opacity. The great contention of criticism is to find the faults of the moderns, and the beauties of the ancients. While an author is yet living, we cítimate his powers by his worst performance; and when he is dead, we rate them by his beste Vol. 1. [A]

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To works, however, of which the excellence is not absolute and definite, but gradual and comparative; to works not raised upon principles demonstrative and scientifick, but appealing wholly to observation and experience, no other test can be applied than length of duration and continuance of esteem. What mankind have long possessed they have often examined and compared, and if they persist to value the poffeffion, it is because frequent comparisons have confirmed opinion in its favour. As among the works of nature no man can properly call a river deer, or a mountain high, without the knowledge of many mountains, and many rivers; so in the productions of genius, nothing can be filed excellent till it has been compared with other works of the same kind. Demonstration immediately displays its power, and has nothing to hope or fear from the flux of years; but works tentative and experimental must be estimated by their proportion to the general and collective ability of man, as it is discovered in a long succession of endeavours. Of the first building that was raised, it might be with certainty determined that it was round or square; but whether it was spacious or lofty must have been referred to time. The Pythagorean scale of numbers was at once discovered to be perfect; but the poems of Homer we yet know not to transcend the common limits of human intelligence, but by remarking, that nation after nation, and century after century, has been able to do little more than transpose his incidents, new nanie his characters, and paraphrafe his sentiments.

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The reverence due to writings that have long subfifted arises therefore not from any credulous confidence in the superior wisdom of past ages, or gloomy persuasion of the degeneracy of mankind, but is the consequence of acknowledged and indubitable pofitions, that what has been longest known has been most considered, and what is most considered is best understood.

The poet, of whose works I have undertaken the revision, may now begin to assume the dignity of an ancient, and claim the privilege of established fame and prescriptive veneration. He has long outlived his century, the term commonly fixed as the test of literary merit. Whatever advantages he might once derive from personal allusions, local customs, or temporary opinions, have for many years been lost; and every topick of merriment, or motive of sorrow, which the modes of artificial life afforded him, now only obscure the scenes which they once illuminated. The effects of favour and competition are at an end; the tradition of his friendships and his enmities has perished; his works fupport no opinion with arguments, nor supply any faction with invectives; they can neither indulge vanity, nor gratify malignity; but are read without any other reason than the desire of pleafure, and are therefore praised only as pleasure is obtained; yet, thus unassisted by interest or passion, they have past through variations of taste and changes of manners, and, as they devolved from one generation to another, have received new honours at every transmiflion.

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But because human judgment, though it be gradually gaining upon certainty, never becomes infallible; and approbation, though long continued, may yet be only the approbation of prejudice or fashion; it is proper to inquire, by what peculiarities of excellence Shakespeare has gained and kept the favour of his countrymen.

Nothing can please many, and please long, but just representations of general nature. Particular manners can be known to few, and therefore few only can judge how nearly they are copied. The irregular combinations of fanciful invention inay delight awhile, by that novelty of which the cominon satiety of life sends us all in quest; but the pleasures of sudden wonder are soon exhausted, and the mind can only repose on the stability of truth.

Shakespeare is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life. His characters are not modified by the customs of particular places, unpractised by the rest of the world; by the peculiarities of studies or profellions, which can operate but upon sınall numbers; or by the accidents of transient fashions or temporary opinions: they are the genuine progeny of common humanity, such as the world will always supply, and observation will always find. His persons act and speak by the influence of those general passions and principles by which all minds are agitated, and the whole fyftem of life is continued in motion. In the writings of other pocts a character is too often an

individual;

individual; in those of Shakespeare it is commonly a fpecies.

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It is from this wide extension of design that fo much instruction is derived. It is this which fills the plays of Shakespeare with practical axioms and domestick wisdom. It was said of Euripides, that every verse was a precept; and it may be said of Shake. speare, that from his works may be collected a system of civil and oeconomical prudence. Yet his real power is not shewn in the splendor of particular pafsages, but by the progress of his fable, and the tenor of his dialogue; and he that tries to recommend him by select quotations, will succeed like the pedant in Hierocles, who, when he offered his house to fale, carried a brick in his pocket as a specimen.

It will not easily be imagined how much Shakespeare excels in accommodating his sentiments to real life, but by comparing him with other authors. It was observed of the ancient schools of declamation, that the more diligently they were frequented, the more was the student disqualified for the world, because he found nothing there which he fhould ever meet in any other place. The same remark may be applied to every stage but that of Shakespeare. The theatre, when it is under

any
other direction, is

peopled by such characters as were never seen, conversing in a language which was never heard, upon topicks which will never arise in the commerce of mankind. But the dialogue of this author is often fo evidently determined by the incident which produces it, and is pursued with fo much ease and finplicity, that it [A 3]

seems

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