[ 5° ] 



Such an incidental reference to a preceding event tends to 

 corroborate thofe which are now reprefcnted, and infenfibly per- 

 fuades us of their reality. 



We come now to a charader the moft extraordinary, moft 

 ftrongly marked, and uniformly fupported, that imagination has 

 ever pidiured or language defcribed. The ftubborn, the malig- 

 nant, the ungrateful Caliban, forms a perfecft contraft to the 

 amiable, the gentle Ariel. Unmoved by kindnefs, fear alone 

 makes him fubmit to the power of Profpero, whom he at once 

 detefts and dreads. His malevolence breaks out the moment he 

 appears in the bitternefs of imprecation — that greateft pleafure 

 which he derives from the ufe of fpeech. Liberty he defires 

 no farther than as it affords an exemption from labour, and 

 where fervility promifes the gratification of his indolence or his 

 malice he is eager to be a Have. But though we muft admire 

 the ftrength and juftnefs of colouring with which this cha- 

 radler is drawn ; yet, I fear, the introdudion of it muft be 

 condemned, as deflrudive to the unity of a drama, which might 

 otherwife have been pronounced complete. It is a fliining 

 blemifh which we can fcarcely wifh removed ; and I think it 

 confirms a remark that has often occurred to me in reading 

 Shakefpcar, namely, " that many of his defeds proceed from 

 " too clofe an imitation of nature." Nor does th'S contradi£l 

 the great rule, that nature fhould be the ftandard of dramatic 

 poetry. We muft diftinguifli between what is natural in events, 

 and what is confonant to the nature of the human mind. The 

 latter muft be univerfally obferved, as the chief objedt of the 

 drama is to affed the paflions. But the former is to be fludied 



only 





J) 



