some peculiarities, gathered by contemplating things as they really
exist. It may be observed, that the oldest poets of many nations
preserve their reputation, and that the following generations
of wit, after a short celebrity, sink into oblivion. The first,
whoever they be, must take their sentiments and descriptions
immediately from knowledge; the resemblance is therefore just,
their descriptions are verified by every eye, and their sentiments
acknowledged by every breast. Those whom their fame invites to the
same studies, copy partly them, and partly nature, till the books
of one age gain such authority, as to stand in the place of nature
to another, and imitation, always deviating a little, becomes at
last capricious and casual. Shakespeare, whether life or nature
be his subject, shews plainly, that he has seen with his own eyes;
he gives the image which he receives, not weakened or distorted by
the intervention of any other mind; the ignorant feel his representations
to be just, and the learned see that they are compleat.

Perhaps it would not be easy to find any authour, except Homer, who
invented so much as Shakespeare, who so much advanced the studies
which he cultivated, or effused so much novelty upon his age
or country. The form, the characters, the language, and the shows
of the English drama are his. "He seems," says Dennis, "to have
been the very original of our English tragical harmony, that is,
the harmony of blank verse, diversified often by dissyllable and
trissyllable terminations. For the diversity distinguishes it from
heroick harmony, and by bringing it nearer to common use makes it
more proper to gain attention, and more fit for action and dialogue.
Such verse we make when we are writing prose; we make such verse
in common conversation."