rtion made by an acquaintance that Falstaff was a
coward; but, inspired by his subject, it was continued and finished in
splendid earnest. As his analysis of the character of Falstaff becomes
more intimate his wonder grows at the concrete human personality he
apprehends. Falstaff ceases to be a fictive creation, or the mere
dramatic representation of a type, and takes on a distinctive
individuality. He writes:

"The reader will not now be surprised if I affirm that those
characters in Shakespeare, which are seen only in part, are yet
capable of being unfolded and understood in the whole; every part
being in fact relative, and inferring all the rest. It is true that
the point of action or sentiment, which we are most concerned in, is
always held out for our special notice. But who does not perceive
that there is a peculiarity about it, which conveys a relish of the
whole? And very frequently, when no particular point presses, he
boldly makes a character act and speak from those parts of the
composition, which are inferred only, and not distinctly shewn. This
produces a wonderful effect; it seems to carry us beyond the poet to
nature itself, and give an integrity and truth to facts and
character, which they would not otherwise obtain. And this is in
reality that art in Shakespeare, which being withdrawn from our
notice, we more emphatically call nature. A felt propriety and truth
from causes unseen, I take to be the highest point of Poetic
composition. If the characters of Shakespeare are thus whole, and as
it were original, while those of almost all other writers are mere
imitation, it may be fit to consider them rather as Historic than
Dramatic beings; and, when occasion requires, to account for their
conduct from the whole of character, from general principles, from
latent motives, and from policies not avowed."

Morgann was closer to the secret of Shakespeare's art than he realised;
he had really penetrated to the truth without knowing it. The reason
that his fine analytical sense had led him to feel that "it may be fit
to consider them rather as Historic than Dramatic beings" is the fact
that in practically every instance where a very distinctive
Shakespearean character, such as Falconbridge, Falstaff, Armado,
Malvolio, and Fluellen, acts and speaks "from those parts of the
composition, which are inferred only, and not distinctly shewn," the
characte