and weepers are
perpetually jostling each other,--in which every event has its
serious and ludicrous side. The latter enables us to form an intimate
acquaintance with characters with which we could not possibly become
familiar during the few hours to which the unities restrict the poet.
In this respect, the works of Shakspeare, in particular, are miracles
of art. In a piece, which may be read aloud in three hours, we see a
character gradually unfold all its recesses to us. We see it change with
the change of circumstances. The petulant youth rises into the politic
and warlike sovereign. The profuse and courteous philanthropist sours
into a hater and scorner of his kind. The tyrant is altered, by the
chastening of affliction, into a pensive moralist. The veteran general,
distinguished by coolness, sagacity, and self-command, sinks under a
conflict between love strong as death, and jealousy cruel as the grave.
The brave and loyal subject passes, step by step, to the extremities
of human depravity. We trace his progress, from the first dawnings of
unlawful ambition to the cynical melancholy of his impenitent remorse.
Yet, in these pieces, there are no unnatural transitions. Nothing is
omitted: nothing is crowded. Great as are the changes, narrow as is the
compass within which they are exhibited, they shock us as little as the
gradual alterations of those familiar faces which we see every evening
and every morning. The magical skill of the poet resembles that of the
Dervise in the Spectator, who condensed all the events of seven years
into the single moment during which the king held his head under the
water.

It is deserving of remark, that, at the time of which we speak, the
plays even of men not eminently distinguished by genius,--such, for
example, as Jonson,--were far superior to the best works of imagination
in other departments. Therefore, though we conceive that, from causes
which we have already investigated, our poetry must necessarily have
declined, we think that, unless its fate had been accelerated by
external attacks, it might have enjoyed an euthanasia, that genius might
have been kept alive by the drama till its place could, in some degree,
be supplied by taste,--that there would have been scarcely any interval
between the age of sublime invention and that of agreeable imitation.
The works of Shakspeare, which were not appreciated with any degree of
justice before the middle of the eighteenth century, might