the whole came from his own brain. This he could either cause or permit,
and could in an instant change the subject of the conversation or
command it into silence. He would sometimes throw his pillow against the
wall and say, "Be still! I'll hear no more till daybreak!" And this has
taken place when he was in calm health in mind, and, except weakness, in
body, and broad awake. What was singular, the voices would cease at his
bidding, and in one instance (which might have startled him, had he not
known how common it is for persons to wake at an hour they fix) they
awoke him at the time appointed. Their language would bear the ordinary
tests of sanity, and was like that we see in daily newspapers; but the
various knowledge brought in, the complicated scenes gone through, made
the whole resemble intricate concerted music, from the imperfect study
of which possibly came the power to fabricate them. That they were owing
to some physical cause was shown by their keeping a sort of cadence with
the pulse, and in the fact, that, though not disagreeable, they were
wearisome; especially as they always appeared to be got up with some
remote reference to the private faults and virtues of that tedious
individual who is always forcing his acquaintance upon us, avoid him
however we may,--one's self.

Shall we suppose that Shakspeare wrote in such an _opium dream_ as this?
Did his "wood-notes wild" come from him as tunes do from a barrel-organ,
where it is necessary only to set the machine and disturb the bowels of
it by turning? Was it sufficient for him to fore-plan the plots of his
plays, the story, acts, scenes, persons,--the general rough idea, or
argument,--and then to sit at his table, and, by some process analogous
to mesmeric manipulations, put himself into a condition in which his
_genius_ should elaborate and shape what he, by the aid of his poetic
taste and all other faculties, had been able to rough-hew? How far did
his consciousness desert him?--only partially, as in the instance just