as this does, and which raises such a Multiplicity of the most exalted
Sentiments. It is certain, our Author excell'd in this kind of Writing,
as has been more than once observed by several Writers, and none ever
before or since his Time, could ever bring Inhabitants of another World
upon the Stage, without making them ridiculous or too horrible, and the
Whole too improbable and too shocking to Men's Understandings.


ACT II.

_Polonius_ and _Reynoldo_, and afterwards _Ophelia_.


_Polonius's_ Discourse to _Reynoldo_ is of a good moral Tenour, and thus
far it is useful to the Audience. His forgetting what he was saying, (p.
260) as is usual with old Men, is extremely natural, and much in
Character for him.

_Ophelia's_ Description of _Hamlet's_ Madness, does as much Honour to
our Poet as any Passage in the whole Play, (p. 261, and 262.) It is
excellently good in the _Pictoresque_ Part of Poetry, and renders the
Thing almost present to us.

Now I am come to mention _Hamlet's_ Madness, I must speak my Opinion of
our Poet's Conduct in this Particular. To conform to the Ground-work of
his Plot, _Shakespeare_ makes the young Prince feign himself mad. I
cannot but think this to be injudicious; for so far from Securing
himself from any Violence which fear'd from the Usurper, which was his
Design in so doing, it seems to have been the most likely Way of getting
himself confin'd, and consequently, debarr'd from an Opportunity of