separate itself from morality;-whereas the other religions in their best form (I do not include Mohammedanism, which is only an anomalous corruption of Christianity, like Swedenborgianism,) have no connection with it. The very impersonation of moral evil under the name of Vice, facilitated all other impersonations; and hence we see that the Mysteries were succeeded by Moralities, or dialogues and plots of allegorical personages. Again, some character in real history had become so famous, so proverbial, as Nero for instance, that they were introduced instead of the moral quality, for which they were so noted;-and in this manner the stage was moving on to the absolute production of heroic and comic real characters, when the restoration of literature, followed by the ever-blessed Reformation, let in upon the kingdom not only new knowledge, but new motive. A useful rivalry commenced between the metropolis on the one hand, the residence, independently of the court and nobles, of the most active and stirring spirits who had not been regularly educated, or who, from mischance or otherwise, had forsaken the beaten track of preferment, -and the universities on the other. The latter prided themselves on their closer approximation to the ancient rules and ancient regularity-taking the theatre of Greece, or rather its dim reflection, the rhetorical tragedies of the poet Seneca, as a perfect ideal, without any critical collation of the times, origin, or circumstances;—whilst, in the mean time,

the popular writers, who could not and would not abandon what they had found to delight their countrymen sincerely, and not merely from inquiries first put to the recollection of rules, and answered in the affirmative, as if it had been an arithmetical sum, did yet borrow from the scholars whatever they advantageously could, consistently with their own peculiar means of pleasing.

And here let me pause for a moment's contemplation of this interesting subject.

We call, for we see and feel, the swan and the dove both transcendantly beautiful. As absurd as it would be to institute a comparison between their separate claims to beauty from any abstract rule common to both, without reference to the life and being of the animals themselves, —or as if, having first seen the dove, we abstracted its outlines, gave them a false generalization, called them the principles or ideal of bird-beauty, and then proceeded to criticise the swan or the eagle;—not less absurd is it to pass judgment on the works of a poet on the mere ground that they have been called by the same class-name with the works of other poets in other times and circumstances, or on any ground, indeed, save that of their inappropriateness to their own end and being, their want of significance, as symbols or physiognomy.

O! few have there been among critics, who have followed with the eye of the imagination the imperishable yet ever wandering spirit of poetry through

- Blakean

its various metempsychoses, and consequent metamorphoses;-or who have rejoiced in the light of clear perception at beholding with each new birth, with each rare avatar, the human race frame to itself a new body, by assimilating materials of nourishment out of its new circumstances, and work for itself new organs of power appropriate to the new sphere of its motion and activity! (d)

I have before spoken of the Romance, or the language formed out of the decayed Roman and the Northern tongues; and comparing it with the La-· tin, we find it less perfect in simplicity and relation -the privileges of a language formed by the mere attraction of homogeneous parts;-but yet more rich, more expressive and various, as one formed by more obscure affinities out of a chaos of apparently heterogeneous atoms. As more than a metaphor,-as an analogy of this, I have named the true genuine modern poetry the romantic; and the works of Shakspeare are romantic poetry revealing itself in the drama. If the tragedies of Sophocles are in the strict sense of the word tragedies, and the comedies of Aristophanes comedies, we must emancipate ourselves from a false association arising from misapplied names, and find a new word for the plays of Shakspeare. For they are, in the ancient sense, neither tragedies nor comedies, nor both in one,— but a different genus, diverse in kind, and not merely different in degree. They may be called romantic dramas, or dramatic romances. (e)

A deviation from the simple forms and unities of the ancient stage is an essential principle, and, of course, an appropriate excellence, of the romantic, drama. For these unities were to a great extent the natural form of that which in its elements was homogeneous, and the representation of which was addressed pre-eminently to the outward senses;and though the fable, the language and the characters appealed to the reason rather than to the mere understanding, inasmuch as they supposed an ideal state rather than referred to an existing reality, yet it was a reason which was obliged to accommodate itself to the senses, and so far became a sort of more elevated understanding. On the` other hand, the romantic poetry-the Shakspearian drama-appealed to the imagination rather than to the senses, and to the reason as contemplating our inward nature, and the workings of the passions in their most retired recesses. But the reason, as reason, is independent of time and space; it has nothing to do with them: and hence the certainties of reason have been called eternal truths. As for example the endless properties of the circle:what connection have they with this or that age, with this or that country?—The reason is aloof from time and space; the imagination is an arbitrary controller over both;—and if only the poet have such power of exciting our internal emotions as to make us present to the scene in imagination chiefly, he acquires the right and privilege of using

and aim to point

time and space as they exist in imagination, and obedient only to the laws by which the imagination itself acts. (f) These laws it will be my object out as the examples occur, which illustrate them. But here let me remark what can never be too often reflected on by all who would intelligently study the works either of the Athenian dramatists, or of Shakspeare, that the very essence of the former consists in the sternest separation of the diverse in kind and the disparate in the degree, whilst the latter delights in interlacing, by a rainbow-like transfusion of hues, the one with the other.

And here it will be necessary to say a few words on the stage and on stage-illusion.

A theatre, in the widest sense of the word, is the general term for all places of amusement through the ear or eye, in which men assemble in order to be amused by some entertainment presented to all at the same time and in common. Thus, an old Puritan divine says:-"Those who attend public worship and sermons only to amuse themselves, make a theatre of the church, and turn God's house into the devil's. Theatra ædes diabololatrica." The most important and dignified species of this genus is, doubtless, the stage, (res theatralis histrionica), which, in addition to the generic definition above given, may be characterized in its idea, or according to what it does, or ought to, aim at, as a combination of several or of all the fine