Page:The Plays of William Shakspeare (1778).djvu/124

 It must be owned, that with all these great excellencies, he has almost as great defects; and that as he has certainly written better, so he has perhaps written worse than any other. But I think I can in some measure account for defects, from several causes and accidents; without which it is hard to imagine that so large and so enlightened a mind could ever have been susceptible of them. That all these contingencies should unite to his disadvantage seems to me almost as singularly unlucky, as that so many various (nay contrary) talents should meet in one man, was happy and extraordinary.

It must be allowed that stage-poetry, of all other, is more particularly levelled to please the populace, and its success more immediately depending upon the common suffrage. One cannot therefore wonder, if Shakespeare, having at his first appearance no other aim in his writings than to procure subsistence, directed his endeavours solely to hit the taste and humour that then prevailed. The audience was generally composed of the meaner sort of people; and therefore the images of life were to be drawn from those of their own rank: accordingly we find, that not our author’s only, but almost all the old comedies have their scene among tradesmen and mechanicks: and even their historical plays strictly follow the common old stories or vulgar traditions of that kind of people. In tragedy, nothing was so sure to surprize and cause admiration, as the most strange, unexpected, and consequently most unnatural, events and incidents; the most exaggerated thoughts; the most verbose and bombast expression; the most pompous rhymes, and thundering versification. In comedy, nothing was so sure to please, as mean buffoonry, vile ribaldry, and unmannerly jests of fools and clowns. Yet even in these our author’s wit buoys up, and is borne above his subject: his genius in those low parts is like some prince of a romance in the disguise of a shepherd or peasant; a certain greatness and spirit now and then break out, which manifest his higher extraction and qualities.

It may be added, that not only the common audience had no notion of the rules of writing, but few even of the better sort piqued themselves upon any great degree of knowledge or nicety that way; till Ben Jonson getting possession of the stage, brought critical learning into vogue: and that this was not done without difficulty, may appear from those frequent lessons (and indeed almost declamations) which he was forced to prefix to his first plays, and put into the mouth