junction with learning; but Othello is the vigorous and vivacious offspring of obſervation impregnated by genius. Cato affords a ſplendid exhibition of artificial and fictitious manners, and delivers juſt and noble ſentiments, in diction eaſy, elevated, and harmonious, but its hopes and fears communicate no vibration to the heart; the compoſition refers us only to the writer; we pronounce the name of Cato, but we think on Addiſon.
The work of a correct and regular writer is a garden accurately formed and diligently planted, varied with ſhades, and ſcented with flowers; the compoſition of Shakeſpeare is a foreſt, in which oaks extend their branches, and pines tower in the air, interſperſed ſometimes with weeds and brambles, and ſometimes giving ſhelter to myrtles and to roſes; filling the eye with awful pomp, and gratifying the mind with endleſs diverſity. Other poets diſplay cabinets of precious rarities, minutely finiſhed, wrought into ſhape, and poliſhed into brightneſs. Shakeſpeare opens a mine which contains gold and diamonds in unexhauſtible plenty, though clouded by incruſtations, debaſed by impurities, and mingled with a maſs of meaner minerals.
It has been much diſputed, whether Shakeſpeare owed his excellence to his own native force, or whether he had the common helps of ſcholaſtick education, the precepts of critical ſcience, and the example of ancient authors.
There
