ludicrous was only secondary and subordinate. In the comedies of gallantry and intrigue, with what freshness and delight we come to the serious and romantic parts! What a relief they are to the mind, after those of mere ribaldry or mirth! Those in Twelfth Night, for instance, and Much Ado about Nothing, where Olivia and Hero are concerned, throw even Malvolio and Sir Toby, and Benedick and Beatrice, into the shade. They " give a very echo to the seat where love is throned." What he has said of music might be said of his own poetry "Oh! it came o'er the ear like the sweet south Stealing and giving odour." be How poor, in general, what a falling-off, these parts seem in mere comic authors; how ashamed we are of them; and how fast we hurry the blank verse over, that we may get upon safe ground again, and recover our good opinion of the author! A striking and lamentable instance of this may found (by any one who chooses) in the high-flown speeches in Sir Richard Steele's Conscious Lovers. -As good an example as any of this informing and redeeming power in our author's genius might be taken from the comic scenes in both parts of Henry IV. Nothing can go much lower in intellect or morals than many of the characters. Here are knaves and fools in abundance, of the meanest order, and stripped stark-naked. But genius, like charity, "covers a multitude of sins:" we pity as much as we despise them; in spite of our disgust we like them, because they like themselves, and because we are made to sympathise with them; and the ligament, fine as it is, which links them to humanity, is never broken. Who would quarrel with Wart or Feeble, or Mouldy or Bull-calf, or even with Pistol, Nym, or Bardolph ? None but a hypocrite. The severe censurers of the morals of imaginary characters can generally find a hole for their own vices to creep out at; and yet do not perceive how it is that the imperfect and even deformed characters in Shakspeare's plays, as done to the life, by forming a part of our personal consciousness, claim our personal forgiveness, and suspend or evade our moral judgment, by bribing our self-love to side with them. Not to do so, is not morality, but affectation, stupidity, or ill-nature. I have more sympathy with one of Shakspeare's pick-purses, Gadshill or Peto, than I can possibly have with any member of the Society for the Suppression of Vice, and would by no means assist to deliver the one into the hands of the other. Those who cannot be persuaded to draw a veil over the foibles of ideal characters, may be suspect ed of wearing a mask over their own! Again, in point of understanding and attainments, Shallow sinks low enough; and yet his cousin Silence is a foil to him; he is the shadow of a shade, glimmers on the very verge of downright imbecility, and totters on the brink of nothing. "He has been merry twice or once ere now," and is hardly persuaded to break his silence in a song. Shallow has "heard the chimes at midnight," and roared out glees and catches at taverns and inns of court, when he was young. So, at least, he tells his cousin Silence, and Falstaff encourages the loftiness of his pretensions. Shallow would be thought a great man among his dependents and followers: Silence is nobody-not even in his own opinion: yet he sits in the orchard, and eats his carraways and pippins among the rest. Shakspeare takes up the meanest subjects with the same tenderness that we do an insect's wing, and would not kill a fly. To give a more particular instance of what I mean, I will take the inimitable and affecting, though most absurd and ludicrous dialogue, between Shallow and Silence, on the death of old Double. "Shallow. Come on, come on, come on; give me your hand, Sir; give me your hand, Sir; an early stirrer, by the rood. And how doth my good cousin Silence? Silence. Good morrow, good cousin Shallow. 1 reflections and impertinent digressions. The reader laughs (as well he may) in reading the passage, but he lays down the book to think. The wit, however diverting, is social and humane. But this is not the distinguishing characteristic of wit, which is generally provoked by folly, and spends its venom upon vice. The fault, then, of Shakspeare's comic Muse is, in my opinion, that it is too good-natured and magnanimous. It mounts above its quarry. It is apprehensive, quick, forgetive, full of nimble, fiery, and delectable shapes:" but it does not take the highest pleasure in making human nature look as mean, as ridiculous, and contemptible as possible. It is in this respect, chiefly, that it differs from the comedy of a later, and (what is called) a more refined period. Genteel comedy is the comedy of fashionable life, and of artificial character and manners. The most pungent ridicule, is that which is directed to mortify vanity, and to expose affectation; but vanity and affectation, in their most exorbitant and studied excesses, are the ruling principles of society, only in a highly advanced state of civilization and manners. Man can hardly be said to be a truly contemptible animal, till, from the facilities of general intercourse, and the progress of example and opinion, he becomes the ape of the extravagances of other men. The keenest edge of satire is required to distinguish between the true and false pretensions to taste and elegance; its lash is laid on with the utmost severity, to drive before it the common herd of knaves and fools, not to lacerate and terrify the single stragglers. In a word, it is when folly is epidemic, and vice worn as a mark of distinction, that all the malice of wit and humour is called out and justified to detect the imposture, and prevent the contagion from spreading. The fools in Wycherley and Congreve are of their own, or one another's making, and deserve to be well scourged into common sense and decency: the fools in Shakspeare are of his own or nature's making; and it would be unfair to probe to the quick, or hold up to unqualified derision, the faults which are involuntary and incorrigible, or those which you yourself encourage and exaggerate, from the pleasure you take in witnessing them. Our later comic writers represent a state of manners, in which to be a man of wit and pleasure about town was become the fashion, and in which the swarms of egregious pretenders in both kinds openly kept one another in countenance, and were become a public nuisance. Shakspeare, living in a state of greater rudeness and simplicity, chiefly gave certain characters F |