heart. Herein I have done no more than literally copy nature. Every
man, even the most depraved, bears in some degree the impress of the
Almighty's image, and perhaps the greatest villain is not farther
removed from the most upright man than the petty offender; for the moral
forces keep even pace with the powers of the mind, and the greater the
capacity bestowed on man, the greater and more enormous becomes his
misapplication of it; the more responsible is he for his errors.

The "Adramelech" of Klopstock (in his Messiah) awakens in us a feeling
in which admiration is blended with detestation. We follow Milton's
Satan with shuddering wonder through the pathless realms of chaos. The
Medea of the old dramatists is, in spite of all her crimes, a great and
wondrous woman, and Shakespeare's Richard III. is sure to excite the
admiration of the reader, much as he would hate the reality. If it is
to be my task to portray men as they are, I must at the same time
include their good qualities, of which even the most vicious are never
totally destitute. If I would warn mankind against the tiger, I must
not omit to describe his glossy, beautifully-marked skin, lest, owing to
this omission, the ferocious animal should not be recognized till too
late. Besides this, a man who is so utterly depraved as to be without a
single redeeming point is no meet subject for art, and would disgust
rather than excite the interest of the reader; who would turn over with
impatience the pages which concern him. A noble soul can no more endure
a succession of moral discords than the musical ear the grating of
knives upon glass.

And for this reason I should have been ill-advised in attempting to
bring my drama on the stage. A certain strength of mind is required
both on the part of the poet and the reader; in the former that he may
not disguise vice, in the latter that he may not suffer brilliant