feelings, from those of which he is at once the painter and the analyst; that though the very subject cannot but detract from the pleasure of a delicate mind, yet never was poem less dangerous on a moral account. Instead of doing as Ariosto, and as, still more offensively, Wieland has done, instead of degrading and deforming passion into appetite, the trials of love into the struggles of concupiscence; Shakspeare has here represented the animal impulse itself, so as to preclude all sympathy with it, by dissipating the reader's notice among the thousand outward images, and now beautiful, now fanciful circumstances, which form its dresses and its scenery; or by diverting our attention from the main sub. ject by those frequent witty or profound reflections, which the poet's ever active mind has dedu-· ced from, or connected with, the imagery and the incidents. The reader is forced into too much action to sympathize with the merely passive of. our nature. As little can a mind thus roused and awakened be brooded on by mean and indistinct emotion, as the low, lazy mist can creep upon the surface of a lake, while a strong gale is driving it onward in waves and billows. 3. It has been before observed, that images however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only Bb as far as they are modified by a predominant passion; or by associated thoughts or images awakened by that passion; or when they have the effect of reducing multitude to unity, or succession to an instant; or lastly, when a human and intellectual life is transferred to them from the poet's own spirit, "Which shoots its being through earth, sea, and air.” In the two following lines for instance, there is nothing objectionable, nothing which would preclude them from forming, in their proper place, part of a descriptive poem: "Behold yon row of pines, that shorn and bow'd Bend from the sea-blast, seen at twilight eve." But with the small alteration of rhythm, the same words would be equally in their place in a book of topography, or in a descriptive tour. The same image will rise into a semblance of poetry if thus conveyed : "Yon row of bleak and visionary pines, By twilight-glimpse discerned, mark! how they flee I have given this as an illustration, by no means as an instance, of that particular excellence which I had in view, and in which Shakspeare even in his earliest, as in his latest works, surpasses all other poets. It is by this, that he still gives a dignity and a passion to the ob jects which he presents. Unaided by any previous excitement, they burst upon us at once in life and in power. "Full many a glorious morning have I seen Flatter the mountain tops with sovereign eye." Shakspeare's Sonnet 33rd. "Not mine own fears, nor the prophetic soul The mortal moon hath her eclipse endur'd, As of higher worth, so doubtless still more characteristic of poetic genius does the imagery become, when it moulds and colors itself to the circumstances, passion, or character, present and foremost in the mind. For unrivalled instances of this excellence, the reader's own memory will refer him to the LEAR, OTHELLO, in short to which not of the "great, ever living, dead man's" dramatic works? Inopem me copia fecit. How true it is to nature, he has himself finely expressed in the instance of love in Sonnet 98. "From you have I been absent in the spring, Or from their proud lap pluck them, where they grew : Nor praise the deep vermillion in the rose; Scarcely less sure, or if a less valuable, not less indispensable mark Γονίμε μέν Ποιητε όςις ρήμα γενναιον λακοι, will the imagery supply, when, with more than the power of the painter, the poet gives us the liveliest image of succession with the feeling of simultaneousness! With this he breaketh from the sweet embrace 4. The last character I shall mention, which would prove indeed but little, except as taken conjointly with the former; yet without which the former could scarce exist in a high degree, and (even if this were possible) would give promises only of transitory flashes and a meteoric power; is DEPTH, and ENERGY of THOUGHT. No man was ever yet a great poet, without being at the same time a profound philosopher. For poetry is the blossom and the fragrancy of all human knowledge, human thoughts, human passions, emotions, language. In Shakspeare's poems, the creative power, and the intellectual energy wrestle as in a war embrace. Each in its excess of strength seems to threaten the extinction of the other. At length, in the DRAMA they were reconciled, and fought each with its shield before the breast of the other. Or like two rapid streams, that at their first meeting within narrow and rocky banks mutually strive to repel each other, and intermix reluctantly and in tumult; but soon finding a wider channel and more yielding shores blend, and dilate, and flow on in one current and with one voice. The Venus and Adonis did not perhaps allow the display of the deeper passions. But the story of Lucretia seems to favor, and even demand their intensest workings. And yet we find in Shakspeare's management of the tale neither pathos, nor any other dramatic quality. There is the same minute and faithful imagery as in the former poem, in the same vivid colours, inspirited by the same impetuous vigour of thought, and diverging and contracting with the same activity of the assimilative and of the modifying faculties; and with a yet larger dis |