On Tragical Representations. 333 
and simplicity to follow nature in her plain 
walk, will in the fabrication of tragedy reach its 
highest excellence. Such was Shakespeare, and 
such, in a less degree, were a few of his neg- 
lected cotemporaries; it was to their exquisite 
sensibility, to their ignorance of art and fastidious 
‘refinement, which might have diverted them from 
the resistless eloquence of nature, that they owe 
their superiority over the lettered sons of every 
age andnation. But, whatever be the skill of the 
poet, whether that of nature, or art, or of both; 
this skill is not critically examined into during 
the representation ; it is felt ; it no more requires 
the critic’s acumen to Capacitate us for this effect; 
than the philosopher’s penetration; into: nature to 
feel the lightning. It is not wisdom, but the 
affectation of it, which in so interesting on hour, 
is attentive to all the finesses, delicacies, and in- 
genuity of the poet. The ingenuous simplicity 
of a plain feeling heart is better employed; it is 
worth a thousand such wise ones; it is the spec- 
tator and judge, whom tragedy more delights in, 
from*whom she will receive a more abiding sen- 
‘tence. 
Mr. Hume very justly observes, that the 
force of imagination, the energy of. expression, 
and the power of numbers, are all of themselves: 
naturally pleasing to the mind. But the con- 
nection between this position and the following 
