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All the world's a stage,ng to whough 25 And all the men and women merely players They have their exits and their entrances, 20 aro"And one man in his time plays many parts, ac" His acts being seven ages. At first, the infant, Mewling and puking in the nurse's arms :
And then, the whining school-boy with his satchel,
Ev'n in the cannon's mouth. And then, the justice; to
of And so he plays his part. The sixth age shifts
youthful hose, well sav'd, a world too wide For his shrunk shank; and his big manly voice, Turning again tow'rd childish treble, pipes ****And whistles in his sound: Last scene of all, Joh That ends this strange eventful history,
:lit Is second childishness, and mere oblivion;
Sans teeth, sans eyes, sans taste, sans every thing."
His images are indeed every where so lively, that the thing he would represent stands full before you, and you possess every part of it. I will venture to point out one more, which is, I think, as strong and as uncommon as any thing I ever saw; it is an image of Patience. Speakbing of a maid in love, he says, cross
She never told her love,
let concealment, like a worm i'th' bud,
What an image is here given! and what a task would it have been for the greatest masters of Greece and Rome to have expressed the passions designed by this sketch of statuary! The style of his comedy is, in general, natural to the characters, and easy in itself; and the wit most commonly sprightly and pleasing, except in those places where he runs into doggrel rhymes, as in The
Comedy of Errors, and some other plays. As for his jingling sometimes, and playing upon words, it was the common vice of the age he lived in: and if we find it in the pulpit, made use of as an ornament to the sermons of some of the gravest divines of those times, perhaps it may not be thought too light for the stage.
But certainly the greatness of this author's genius does no where so much appear, as where he gives his imaginanation an entire loose, and raises his fancy to a flight above mankind, and the limits of the visible world. Such are his attempts in The Tempest, A Midsummer-Night's Dream, Macbeth, and Hamlet. Of these, The Tempest, however it comes to be placed the first by the publishers of his works, can never have been the first written by him it seems to me as perfect in its kind, as almost any thing we have of his. One may observe, that the unities are kept here, with an exactness uncommon to the liberties of his writing; though that was what, I suppose, he valued himself least upon, since his excellencies were all of another kind. I am very sensible that he does, in this play, depart too much from that likeness to truth which ought to be observed in these sort of writings; yet he does it so very finely, that one is easily drawn in to have more faith for his sake, than reason does well allow of. His magick has something in it very solemn and very poetical: and that extravagant character of Caliban is mighty well sustained, shows a wonderful invention in the author, who could strike out such a particular wild image, and is certainly one of the finest and most uncommon grotesques that ever was seen. The observation, which, I have been informed, three very great men concurred in making* upon this part, was extremely just; that Shakspeare had not only found out a new character in his Caliban, but had
* which, I have been informed, three very great men concurred in making-] Lord Falkland, Lord C. J. Vaughan, and Mr. Selden. RowE.
Dryden was of the same opinion. "His person (says he, speaking of Caliban,) is monstrous, as he is the product of un• natural lust, and his language is as hobgoblin as his person: in all things he is distinguished from other mortals." Preface to Troilus and Cressida. MALONE.
See this notion controverted by Dr. Johnson in a note on The Tempest, vol. xv. p. 52, n. 2. BOSWELL.
also devised and adapted a new manner of language for that character!
It is the same magick that raises the Fairies in A Midsummer-Night's Dream, the Witches in Macbeth, and the Ghost in Hamlet, with thoughts and language so proper to the parts they sustain, and so peculiar to the talent of this writer. But of the two last of these plays I shall have occasion to take notice, among the tragedies of Mr. Shakspeare. If one undertook to examine the greatest part of these by those rules which are established by Aristotle, and taken from the model of the Grecian stage, it • would be no very hard task to find a great many faults; but as Shakspeare lived under a kind of mere light of nature, and had never been made acquainted with the regularity of those written precepts, so it would be hard to judge him by a law be knew nothing of. We are to con
sider him as a man that lived in a state of almost universal licence and ignorance: there was no established judge, but every one took the liberty to write according -to the dictates of his own fancy. When one considers, that there is not one play before him of a reputation good enough to entitle it to an appearance on the present stage, it cannot but be a matter of great wonder that he should advance dramatick poetry so far as he did. The fable is what is generally placed the first, among those that are reckoned the constituent parts of a tragick or heroick poem; not, perhaps, as it is the most difficult or beautiful, but as it is the first properly to be thought of in the contrivance and course of the whole; and with the fable ought to be considered the fit disposition, order, and conduct of its several parts. As it is not in this province of the drama that the strength and mastery of Shakspeare lay, so I shall not undertake the tedious and ill-natured trouble to point out the several faults he was guilty of in Juit. His tales were seldom invented, but rather taken either - from the true history, or novels and romances: and he commonly made use of them in that order, with those incidents, and that extent of time in which he found them in the authors from whence he borrowed them. So The 10 Winter's Tale, which is taken from an old book, called The Delectable History of Dorastus and Fawnia, contains the space of sixteen or seventeen years, and the scene is sometimes laid in Bohemia, and sometimes in Sicily, according to the original order of the story. Almost all his
historical plays comprehend a great length of time, and very different and distinct places: and in his Antony and Cleopatra, the scene travels over the greatest part of the Roman empire. But in recompence for his carelessness in this point, when he comes to another part of the drama, the manners of his characters, in acting or speaking what is proper for them, and fit to be shown by the poet, he may be generally justified, and in very many places greatly commended. For those plays which he has taken from the English or Roman history, let any man compare them, and he will find the character as exact in the poet as the historian. He seems indeed so far from proposing to himself any one action for a subject, that the title very often tells you, it is The Life of King John, King Richard, &c. What can be more agreeable to the idea our historians give of Henry the Sixth, than the picture Shakspeare has drawn of him? His manners are every where exactly the same with the story; one finds him still described with simplicity, passive sanctity, want of courage, weakness of mind, and easy submission to the governance of an imbperious wife, or prevailing faction: though at the same time the poet does justice to his good qualities, and moves the pity of his audience for him, by showing him pious, disinterested, a contemner of the things of this world, and wholly resigned to the severest dispensations of God's providence. There is a short scene in The Second Part of Henry the Sixth, which I cannot but think admirable in its kind. Cardinal Beaufort, who had murdered the Duke of Gloucester, is shown in the last agonies on his death-bed, with the good king praying over him. There is so much terror in one, so much tenderness and moving piety in the other, as must touch any one who is capable either of fear or pity. In his Henry the Eighth, that prince is drawn with that greatness of mind, and all those good qualities which are attributed to him in any account of his reign. If his faults are not shown in an equal degree, and the shades in this picture do not bear a just proportion to the lights, it is not that the artist wanted either colours or skill in the disposition of them; but the truth, I believe, might be, that he forbore doing it out of enregard to Queen Elizabeth, since it could have been no every great respect to the memory of his mistress, to have -exposed some certain parts of her father's life upon the stage. He has dealt much more freely with the minister
of that great king; and certainly nothing was ever more justly written, than the character of Cardinal Wolsey. He has shown him insolent in his prosperity; and yet, by a wonderful address, he makes his fall and ruin the subject of general compassion. The whole man, with his vices and virtues, is finely and exactly described in the second scene of the fourth Act. The distresses likewise of Queen Katharine, in this play, are very movingly touched; and though the art of the poet has screened King Henry from any gross imputation of injustice, yet one is inclined to wish, the Queen had met with a fortune more worthy of her birth and virtue. Nor are the manners, proper to the persons represented, less justly observed, in those characters taken from the Roman history; and of this, the fierceness and impatience of Coriolanus, his courage and disdain of the common people, the virtue and philosophical temper of Brutus, and the irregular greatness of mind in M. Antony, are beautiful proofs. For the two last especially, you find them exactly as they are described by Plutarch, from whom certainly Shakspeare copied them. He has indeed followed his original pretty close, and taken in several little incidents that might have been spared in a play. But, as I hinted before, his design seems most commonly rather to describe those great men in the several fortunes and accidents of their lives, than to take any single great action, and form his work simply upon that. However, there are some of his pieces, where the fable is founded upon one action only. Such are more especially, Romeo and Juliet, Hamlet, and Othello. The design in Romeo and Juliet is plainly the punishment of their two families, for the unreasonable feuds and animosities that had been so long kept up between them, and occasioned the effusion of so much blood. In the management of this story, he has shown something wonderfully tender and passionate in the love-part, and very pitiful in the distress. Hamlet is founded on much the same tale with the Electra of Sophocles. In each of them a young prince is engaged to revenge the death of his father, their mothers are equally guilty, are both concerned in the murder of their husbands*, and are
* are both concerned in the murder of their husbands,] It does not appear that Hamlet's mother was concerned in the death of her husband. MALONE.