104 



order. This strain of reasoning, the key to so much sub- 

 sequent criticism, was no doubt the cause of much con- 

 tumely expressed in life toward the poet, productive of 

 much unhappiness, and the instance of those painful and 

 melancholy breedings, which, in his sonnets, have 

 escaped into print. 



Finally, as to the internal evidence of liaste or care- 

 lessness in the diction, but chiefly in the construction 

 of the plays, the "want of Art" in fact, and the ab- 

 sence of moral intention, manifested no less in the 

 poet's life than in his plays. That point indeed which 

 oiu- Reviewer insists on, when he supposes that, because 

 Shakspere was compelled to write a drama that would 

 act, it was necessary to render the popularity the chief 

 aim, and make moral considerations secondary, rather 

 than construct a drama artistically perfect ; framed in 

 moral harmony, elevated by moral dignity, and then 

 trust to the result for its popularity. To inquire if the 

 idea of amusement has been held predominant? The 

 charges of haste and carelessness are easily disposed 

 of by a mass of convincing evidence accumulated from 

 all sides : First, because alterations have been freqtiently 

 made in the dialogue and composition, with a view 

 alone to their literary, and without reference to their 

 dramatic, merit. Next, that very many of his plays 

 are not suited, indeed, never could have been suited, 

 for the stage ; that very many of the scenes, even 

 in those days of court masques, were impracticable 

 for stage purposes ; that they were so designedly, and 

 not accidentally, or from want of art, appears evident on 

 investigation. If the " Tempest" were ever, or under 

 any circumstances, a good acting play, as Mr. Thornbury 

 suggests, but which I very much doubt, it must be ad- 

 mitted that the " Midsummer Night's Dream " is amena- 

 ble to no law of stage propriety. The " Winter's Tale," 



