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 spiteful, jealous or generous. But a man's humour and fancy are functions of his character as well as of his reason. To appreciate them clearly is to know how he feels as well as how he argues; what are the aspects of life which especially impress him, and what morals are most congenial. I do not see how the critic can claim an instinctive perception of the Shakespearean mode of thought without a perception of some sides of his character. You distinguish Shakespeare's work from his rivals' as confidently as any expert judging of handwriting. You admit, too, that you can give a very fair account of the characteristics of the other writers. Then surely you can tell me—or at least you know 'implicitly'—what is the quality in which they are defective and Shakespeare pre-eminent.

Half my knowledge of a friend's character is derived from his talk, and not the less if it is playful, ironical, and dramatic. When we agree that Shakespeare's mind was vivid and subtle, that he shows a unique power of blending the tragic and the comic, we already have some indications of character; and incidentally we catch revelations of more specific peculiarities. Part of my late reading was a charming book in which Mr.