term, Courage; however I may incidentally throw some lights on the whole.—The reader will not need to be told that this Inquiry will resolve itself of course into a Critique on the genius, the arts, and the conduct of Shakespeare: For what is Falstaff, what Lear, what Hamlet, or Othello, but different modifications of Shakespeare’s thought? It is true that this Inquiry is narrowed almost to a single point: But general criticism is as uninstructive as it is easy: Shakespeare deserves to be considered in detail;—a task hitherto unattempted.
It may be proper, in the first place, to take a short view of all the parts of Falstaff’s Character, and then proceed to discover, if we can, what Impressions, as to Courage or Cowardice, he had made on the persons of the Drama: After which we will examine, in course, such evidence, either of persons or facts, as are relative to the matter; and account as we may for those appearances, which seem to have led to the opinion of his Constitutional Cowardice.
