_Henry_ IV, when he made him consent to join with _Falstaffe_ in a
Robbery on the Highway, he has taken care not to carry him off the
Scene, without an Intimation that he knows them all, and their
unyok’d Humour; and that, like the Sun, he will permit them only for
a while to obscure and cloud his Brightness; then break thro’ the
Mist, when he pleases to be himself again; that his Lustre, when
wanted, may be the more wonder’d at.

Another of _Shakespeare_’s grand Touches of Nature, and which lies
still deeper from the Ken of common Observation, has been taken
notice of in a Note upon _The Tempest_; where _Prospero_ at once
interrupts the Masque of _Spirits_, and starts into a sudden Passion
and Disorder of Mind. As the latent Cause of his Emotion is there
fully inquir’d into, I shall no farther dwell upon it here.

Such a Conduct in a Poet (as _Shakespeare_ has manifested on many
like Occasions;) where the Turn of _Action_ arises from Reflexions
of his _Characters_, where the Reason of it is not express’d in
Words, but drawn from the inmost Resources of Nature, shews him
truly capable of that Art, which is more in Rule than Practice:
_Ars est celare Artem_. ’Tis the Foible of your worser Poets to make
a Parade and Ostentation of that little Science they have; and to
throw it out in the most ambitious Colours. And whenever a Writer of
this Class shall attempt to copy these artful Concealments of our
Author, and shall either think them easy, or practised by a Writer
for his Ease, he will soon be convinced of his Mistake by the
Difficulty of reaching the Imitation of them.

Speret idem, sudet multùm, frustráq; laboret,
Ausus idem:----