Through all theſe denominations of the drama, Shakeſpeare’s mode of compoſition is the ſame; an interchange of ſeriouſneſs and merriment, by which the mind is ſoftened at one time, and exhilarated at another. But whatever be his purpoſe, whether to gladden or depreſs, or to conduct the ſtory, without vehemence or emotion, through tracts of eaſy and familiar dialogue, he never fails to attain his purpoſe; as he commands us, we laugh or mourn, or ſit ſilent with quiet expectation, in tranquility without indifference.
When Shakeſpeare’s plan is underſtood, moſt of the criticiſms of Rhymer and Voltaire vaniſh away. The play of Hamlet is opened, without impropriety, by two centinels; lago bellows at Brabantio’s window, without injury to the ſcheme of the play, though in terms which a modern audience would not eaſily endure; the character of Polonius is ſeaſonable and uſeful; and the Grave-diggers themſelves may be heard with applauſe.
Shakeſpeare engaged in dramatick poetry with the world open before him; the rules of the ancients were yet known to few; the publick judgment was unformed; he had no example of ſuch fame as might force him upon imitation, nor criticks of ſuch authority as might reſtrain his extravagance: he therefore indulged his natural diſpoſition, and his diſpoſition, as Rhymer has remarked, led him to comedy. In tragedy he often writes with great appearance of toil and ſtudy, what is written at laſt with little felicity; but in his comick ſcenes, he ſeems to produce without
labour,
