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"In his tragic scenes, there is always something wanting, but his comedy often surpasses expectation or desire. His comedy pleases by the thoughts and the language, and his tragedy, for the greater part, by incident and action. His tragedy seems to be skill, his comedy to be instinct." Yet after saying that "his tragedy was skill," he affirms in the next page, "His declamations or set speeches are commonly cold and weak, for his power was the power of nature: when he endeavored, like other tragic writers, to catch opportunities of amplification, and instead of inquiring what the occasion demanded, to show how much his stores of knowledge could supply, he seldom escapes without the pity or resentment of his reader." Poor Shak'speare! Between the charges here brought against him, of want of nature in the first instance, and of want of skill in the second, he could hardly escape being condemned. And again, "But the admirers of this great poet have most reason to complain when he approaches nearest to his highest excellence, and seems fully resolved to sink them in dejection, or mollify them with tender emotions by the fall of greatness, the danger of innocence, or the crosses of love. What he does best, he soon ceases to do. He no sooner begins to move than he counteracts himself; and terror and pity, as they are rising in the mind, are checked and blasted by sudden frigidity." In all this, our critic seems more bent on maintaining the equilibrium of his style than the consistency or truth of his opinions. If Dr. Johnson's opinion was right, the following observations on Shakspeare's Plays must be greatly exaggerated, if not ridiculous. If he was wrong, what has been said may perhaps account for his being so, without detracting from his ability and judgment in other things.

April 5, 1818.

CYMBELINE.

CYMBELINE is one of the most delightful of Shakspeare's historical plays. It may be considered as a dramatic romance, in which the most striking parts of the story are thrown into the form of a dialogue, and the intermediate circumstances are explained by the different speakers, as occasion renders it necessary. The action is less concentrated in consequence; but the interest becomes more aerial and refined from the principle of perspective introduced into the subject by the imaginary changes of scene as well as by the length of time it occupies. The reading of this play is like going a journey with some uncertain object at the end of it, and in which the suspense is kept up and heightened by the long intervals between each action. Though the events are scattered over such an extent of surface, and relate to such a variety of characters, yet the links which bind the dif ferent interests of the story together are never entirely broken. The most straggling and seemingly casual incidents are contrived in such a manner as to lead at last to the most complete development of the catastrophe. The ease and conscious unconcern with which this is effected only makes the skill more wonderful. The business of the plot evidently thickens in the last act: the story moves forward with increasing rapidity at every step; its various ramifications are drawn from the most distant points to the same centre; the principal characters are brought together, and placed in very critical situations; and the fate of almost every person in the drama is made to depend on the solution of a single circumstance—the answer of Iachimo to the question of Imogen respecting the obtaining of the ring from Posthumus. Dr. Johnson is of opinion that Shakspeare was generally inatten

tive to the winding up of his plots. We think the contrary is true; and we might cite in proof of this remark not only the present play, but the conclusion of Lear, of Romeo and Juliet, of Macbeth, of Othello, even of Hamlet, and of other plays of less moment, in which the last act is crowded with decisive events brought about by natural and striking means.

The pathos in Cymbeline is not violent or tragical, but of the most pleasing and amiable kind. A certain tender gloom overspreads the whole. Posthumus is the ostensible hero of the piece, but its greatest charm is the character of Imogen. Posthumus is only interesting from the interest she takes in him, and she is only interesting herself from her tenderness and constancy to her husband. It is the peculiar characteristic of Shakspeare's heroines, that they seem to exist only in their attachment to others. They are pure abstractions of the affections. We think as little of their persons as they do themselves, because we are let into the secrets of their hearts, which are more important. We are too much interested in their affairs to stop to look at their faces, except by stealth and at intervals. No one ever hit the true perfection of the female character, the sense of weakness leaning on the strength of its affections for support, so well as Shakspeare —no one ever so well painted natural tenderness free from affectation and disguise—no one else ever so well showed how delicacy and timidity, when driven to extremity, grow romantic and extravagant; for the romance of his heroines (in which they abound) is only an excess of the habitual prejudices of their sex, scrupulous of being false to their vows, truant to the affections, and taught by the force of feeling when to forego the forms of propriety for the essence of it. His women are in this respect exquisite logicians; for there is nothing so logical as passion. They know their own minds exactly; and only follow up a favorite idea which they have sworn to with their tongues, and which is engraven on their hearts, into its untoward consequen

ces.

They are the prettiest little set of martyrs and confessors on record. Cibber, in speaking of the early English stage, accounts for the want of prominence and theatrical display in Shakspeare's female characters from the circumstance, that women in those days were not allowed to play the parts of women,

which made it necessary to keep these a good deal in the background. Does not this state of manners itself, which prevented their exhibiting themselves in public, and confined them to the relations and charities of domestic life, afford a truer explanation of the matter? His women are certainly very unlike stageheroines; the reverse of tragedy-queens.

We have almost as great an affection for Imogen as she had for Posthumus; and she deserves it better. Of all Shakspeare's women she is perhaps the most tender and the most artless. Her incredulity in the opening scene with Iachimo, as to her husband's infidelity, is much the same as Desdemona's backwardness to believe Othello's jealousy. Her answer to the most distressing part of the picture is only, "My lord, I fear, has forgot Britain." Her readiness to pardon Iachimo's false imputations and his designs against herself, is a good lesson to prudes; and may show that where there is a real attachment to virtue, it has no need to bolster itself up with an outrageous or affected antipathy to vice. The scene in which Pisanio gives Imogen his master's letter, accusing her of incontinency on the treacherous suggestions of Iachimo, is as touching as it is possible for anything to be :—

"Pisanio. What cheer, Madam?

Imogen. False to his bed! What is it to be false ?

To lie in watch there, and to think on him?

To weep 'twixt clock and clock? If sleep charge nature,
To break it with a fearful dream of him,

And cry myself awake? That's false to 's bed, is it?
Pisanio. Alas, good lady!

Imogen. I false? thy conscience witness, Iachimo,

Thou didst accuse him of incontinency,

Thou then look'dst like a villain: now methinks,

Thy favor's good enough. Some jay of Italy,

Whose mother was her painting, hath betrayed him:

Poor I am stale, a garment out of fashion,

And for I am richer than to hang by th' walls,

I must be ript; to pieces with me. Oh,

Men's vows are women's traitors. All good seeming
By thy revolt, oh husband, shall be thought
Put on for villainy: not born where 't grows,
But worn a bait for ladies.

Pisanio. Good Madam, hear me—

Imogen. Talk thy tongue weary, speak :

I have heard I am a strumpet, and mine ear,

Therein false struck, can take no greater wound,

Nor tent to bottom that.".

When Pisanio, who had been charged to kill his mistress, puts her in a way to live, she says,

"Why, good fellow,

What shall I do the while? Where bide? How live?

Or in my life what comfort, when I am

Dead to my husband?"

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Yet when he advises her to disguise herself in boy's clothes, and suggests a course pretty and full in view," by which she may "happily be near the residence of Posthumus," she exclaims,

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And when Pisanio, enlarging on the consequences, tells her she must change

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In her journey thus disguised to Milford-Haven, she loses her guide and her way; and unbosoming her complaints, says beautifully,—

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Thou art one of the false ones; now I think on thee,

My hunger's gone; but even before, I was

At point to sink for food."

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