on the contrary, prepares his audience with all the submissiveness he can practise, and all the calmness of a reasonable man; he found his judges in a tranquillity of spirit, and therefore set out leisurely and softly with them, till he had warmed them by degrees; and then he began to mend his pace, and to draw them along with his own impetuousness: yet so managing his breath, that it might not fail him at his need, and reserving his utmost proofs of ability even to the last. The success, you see, was answerable; for the crowd only applauded the speech of Ajax;-

Vulgique secutum ultima murmur erat :

But the judges awarded the prize, for which they contended, to Ulysses;

Mota manus procerum est; et quid facundia posset
Tum patuit, fortisque viri tulit arma disertus.

The next necessary rule is, to put nothing into the discourse, which may hinder your moving of the passions. Too many accidents, as I have said, incumber the poet, as much as the arms of Saul did David; for the variety of passions, which they produce, are ever crossing and justling each other out of the way. He, who treats of joy and grief together, is in a fair way of causing neither of those effects. There is yet another obstacle to be removed, which is,-pointed wit, and sentences affected out of season; these are nothing of kin to the violence of passion: no man is at leisure to make sentences and similes, when his soul is in an agony. I the rather name this fault, that it may serve to mind me of my former errors; neither will I spare myself, but give an example of this

kind from my "Indian Emperor." Montezuma, pursued by his enemies, and seeking sanctuary, stands parleying without the fort, and describing his danger to Cydaria, in a simile of six lines;

As on the sands the frighted traveller

Sees the high seas come rolling from afar, &c.

My Indian potentate was well skilled in the sea for an inland prince, and well improved since the first act, when he sent his son to discover it. The image had not been amiss from another man, at another time: Sed nunc non erat his locus: he destroyed the concernment which the audience might otherwise have had for him; for they could not think the danger near, when he had the leisure to invent a simile.

If Shakespeare be allowed, as I think he must, to have made his characters distinct, it will easily be inferred, that he understood the nature of the passions: because it has been proved already, that confused passions make distinguishable characters: yet I cannot deny that he has his failings; but they are not so much in the passions themselves, as in his manner of expression: he often obscures his meaning by his words, and sometimes makes it unintelligible. I will not say of so great a poet, that he distinguished not the blown puffy stile, from true sublimity; but I may venture to maintain, that the fury of his fancy often transported him beyond the bounds of judgment, either in coining of new words and phrases, or racking words which were in use, into the violence of a catachresis. It is not that I would explode the use of metaphors from passion, for Longinus thinks them necessary to raise it: but to use them at every word, to say nothing without a metaphor, a simile, an image, or

description, is, I doubt, to smell a little too strongly of the buskin. I must be forced to give an example of expressing passion figuratively; but that I may do it with respect to Shakespeare, it shall not be taken from any thing of his: it is an exclamation against Fortune, quoted in his Hamlet, but written by some other poet:

Out, out, thou strumpet Fortune! all you gods,
In general synod, take away her power;

Break all the spokes and felleys from her wheel,
And bowl the round nave down the hill of heav'n,

As low as to the fiends.

And immediately after, speaking of Hecuba, when Priam was killed before her eyes:

But who, ah woe! had seen the mobled queen
Run barefoot up and down, threatening the flame
With bisson rheum; a clout about that head,
Where late the diadem stood; and, for a robe.
About her lank and all o'er-teemed loins,
A blanket in th' alarm of fear caught up.
Who this had seen, with tongue in venom steep'd
'Gainst fortune's state would treason have pronounc'd;
But if the gods themselves did see her then,
When she saw Pyrrhus make malicious sport
In mincing with his sword her husband's limbs,
The instant burst of clamour that she made
(Unless things mortal move them not at all)
Would have made milch the burning eyes of heaven,
And passion in the gods.

What a pudder is here kept in raising the expression of trifling thoughts! would not a man have thought that the poet had been bound prentice to a wheel-wright, for his first rant? and had followed a rag-man, for the clout and blanket, in the second? Fortune is painted on a wheel, and therefore the writer, in a rage, will have poetical justice done

upon every member of that engine: after this execution, he bowls the nave down-hill, from heaven, to the fiends: (an unreasonable long mark, a man would think;) 'tis well there are no solid orbs to stop it in the way, or no element of fire to consume it but when it came to the earth, it must be monstrous heavy, to break ground as low as the center. His making milch the burning eyes of heaven, was a pretty tolerable flight too: and I think no man ever drew milk out of eyes before him yet, to make the wonder greater, these eyes were burning. Such a sight indeed were enough to have raised passion in the gods; but to excuse the effects of it, he tells you, perhaps they did not see it. Wise men would be glad to find a little sense couched under all these pompous words; for bombast is commonly the delight of that audience, which loves poetry, but understands it not: and as commonly has been the practice of those writers, who, not being able to infuse a natural passion into the mind, have made it their business to ply the ears, and to stun their judges by the noise. Shakespeare does not often thus; for the passions in his scene between Brutus and Cassius are extremely natural, the thoughts are such as arise from the matter, the expression of them not viciously figu rative. I cannot leave this subject, before I do justice to that divine poet, by giving you one of his passionate descriptions: 'tis of Richard the Second when he was deposed, and led in triumph through the streets of London by Henry of Bolingbroke: the painting of it is so lively, and the words so moving that I have scarce read any thing comparable to it, in any other language. Suppose you have seen already the fortunate usurper passing through the crowd, and followed by the shouts and acclamations of the people; and now behold King Richard

But

entering upon the scene: consider the wretchedness of his condition, and his carriage in it; and refrain from pity, if you can:

As in a theatre, the eyes of men,

After a well-grac'd actor leaves the stage,
Are idly bent on him that enters next,
Thinking his prattle to be tedious:

Even so, or with much more contempt, men's eyes
Did scowl on Richard: no man cry'd, God save him:
No joyful tongue gave him his welcome home,
But dust was thrown upon his sacred head,
Which with such gentle sorrow he shook off,
His face still combating with tears and smiles,
(The badges of his grief and patience)

That had not God (for some strong purpose) steel'd
The hearts of men, they must perforce have melted,
And barbarism itself have pitied him.

To speak justly of this whole matter: it is neither height of thought that is discommended, nor pathetic vehemence, nor any nobleness of expression in its proper place; but it is a false measure of all these, something which is like them, and is not them: it is the Bristol-stone, which appears like a diamond; it is an extravagant thought, instead of a sublime one; it is roaring madness, instead of vehemence; and a sound of words, instead of sense. If Shakespeare were stripped of all the bombasts in his passions, and dressed in the most vulgar words, we should find the beauties of his thoughts remaining; if his embroideries were burnt down, there would still be silver at the bottom of the melting-pot: but I fear (at least let me fear it for myself) that we, who ape his sounding words, have nothing of his thought, but are all outside; there is not so much as a dwarf within our giant's clothes. Therefore, let not Shakespeare suffer for our sakes; it is our fault, who succeed him in an age which is more refined, if we imitate him so ill, that we copy his