Shakespeare is, above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.  His characters are not modified by the customs of particular places, unpractised by the rest of the world; by the peculiarities of studies or professions, which can operate but upon small numbers; or by the accidents of transient fashions or temporary opinions:  they are the genuine progeny of common humanity, such as the world will always supply, and observation will always find.  His persons act and speak by the influence of those general passions and principles by which all minds are agitated, and the whole system of life is continued in motion.  In the writings of other poets a character is too often an individual:  in those of Shakespeare it is commonly a species.

It is from this wide extension of design that so much instruction is derived.  It is this which fills the plays of Shakespeare with practical axioms and domestick wisdom.  It was said of Euripides, that every verse was a precept; and it may be said of Shakespeare, that from his works may be collected a system of civil and economical prudence.  Yet his real power is not shown in the splendour of particular passages, but by the progress of his fable, and the tenour of his dialogue; and he that tries to recommend him by select quotations, will succeed like the pedant in Hierocles, who, when he offered his house to sale, carried a brick in his pocket as a specimen.

It will not easily be imagined how much Shakespeare excels in accommodating his sentiments to real life, but by comparing him with other authors.  It was observed of the ancient schools of declamation, that the more diligently they were frequented, the more was the student disqualified for the world, because he found nothing there which he should ever meet in any other place.  The same remark may be applied to every stage but that of Shakespeare.  The theatre, when it is under any other direction, is peopled by such characters as were never seen, conversing in a language which was never heard, upon topicks which will never arise in the commerce of mankind.  But the dialogue of this author is often so evidently determined by the incident which produces it, and is pursued with so much ease and simplicity, that it seems scarcely to claim the merit of fiction, but to have been gleaned, by diligent selection, out of common conversation and common occurrences.

Upon every other stage the universal agent is love, by whose power all good and evil is distributed, and every action quickened or retarded.  To bring a lover, a lady, and a rival into the fable; to entangle them in contradictory obligations, perplex them with oppositions of interest, and harass them with violence of desires inconsistent with each other; to make them meet in rapture, and part in agony; to fill their mouths with hyperbolical joy and outrageous sorrow; to distress