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 and it is rarely that a man even of lofty genius will be able to do more than carry on his own feelings and character, or some prominent and ruling passion, into fictitious and uncommon situations. Milton has by allusion embodied a great part of his political and personal history in the chief characters and incidents of Paradise Lost. He has, no doubt, wonderfully adapted and heightened them, but the elements are the same; you trace the bias and opinions of the man in the creations of the poet. Shakespear (almost alone) seems to have been a man of genius, raised above the definition of genius. “Born universal heir to all humanity,” he was “as one, in suffering all who suffered nothing;” with a perfect sympathy with all things, yet alike indifferent to all: who did not tamper with nature or warp her to his own purposes; who “knew all qualities with a learned spirit,” instead of judging of them by his own predilections; and was rather “a pipe for the Muse's finger to play what stop she pleased,” than anxious to set up any character or pretensions of his own. His genius consisted in the faculty of transforming himself at will into whatever he chose: his originality was the power of seeing every object from the exact point of view in which others would see it. He was the Pro-