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His Images are indeed ev’ry where so lively, that the thing he would represent stands full before you, and you possess ev’ry part of it. I will venture to point out one more, which is, I think, as strong and as uncommon as any thing I ever saw; ’tis an image of Patience. Speaking of a maid in love, he says,

—-She never told her love,
But let concealment, like a worm i’th’ bud,
Feed on her damask cheek: She pin’d in thought,
And sate like Patience on a monument,
Smiling at Grief.

What an Image is here given! and what a task would it have been for the greatest masters of Greece and Rome to have express’d the passions design’d by this sketch of Statuary! The stile of his Comedy is, in general, natural to the characters, and easie in it self; and the wit most commonly sprightly and pleasing, except in those places where he runs into dogrel rhymes, as in The Comedy of Errors, and a passage or two in some other plays. As for his jingling sometimes, and playing upon words, it was the common vice of the age he liv’d in: And if we find it in the Pulpit, made use of as an ornament to the Sermons of some of the gravest Divines of those times; perhaps it may not be thought too light for the Stage.

But certainly the greatness of this Author’s genius do’s no where so much appear, as where he gives his imagination an entire loose, and raises his fancy to a flight above mankind and the limits of the visible world. Such are his attempts in The Tempest, Midsummer Nights Dream, Macbeth, and Hamlet. Of these, The Tempest, however it comes to be plac’d the first by the former publishers of his works, can never have been the first written by him: It seems to me as perfect in its kind, as almost any thing we have of his. One may observe, that the Unities are kept here, with an exactness uncommon to the liberties of his writing; tho’ that was what, I suppose, he valu’d himself least upon, since his excellencies were all of another kind. I am very sensible that he do’s, in this play, depart too much from that likeness to truth which ought to be observ’d in these sort of writings; yet he do’s it so very finely, that one is easily drawn in to have more faith for his sake, than reason does well allow of. His Magick has something in it very solemn and very poetical: And that extravagant character of Caliban is mighty well sustain’d, shews a wonderful invention in the Author, who could strike out such a particular wild image, and is certainly one of the finest and most uncommon Grotesques that was ever seen. The observation, which I have been inform’d(36) three very great men concurr’d in making upon this part, was extremely just: That Shakespear had not only found out a new Character in his Caliban, but had also devis’d and adapted a new manner of Language for that Character. Among the particular beauties of this piece, I think one may be allow’d to point out the tale of Prospero in the first Act; his speech to Ferdinand in the fourth, upon the breaking up the masque of Juno and Ceres ; and that in the fifth, when he dissolves his charms, and resolves to break his magick rod. This Play has been alter’d by Sir William D’Avenant and Mr. Dryden ; and tho’ I won’t arraign the judgment of those two great men, yet I think I may be allow’d to say, that there are some things left out by them, that might, and even ought to have been kept in. Mr. Dryden was an admirer of our Author, and, indeed, he owed him a great deal, as those who have read them both may very easily observe. And, I think, in justice to ’em both, I should not on this occasion omit what Mr. Dryden has said of him.