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.

I know not whether this praise is rigorously just.  The dissyllable termination, which the critic rightly appropriates to the drama, is to be found, though, I think, not in Gorboduc which is confessedly before our author; yet in Hieronnymo, of which the date is not certain, but which there is reason to believe at least as old as his earliest plays.  This however is certain, that he is the first who taught either tragedy or comedy to please, there being no theatrical piece of any older writer, of which the name is known, except to antiquaries and collectors of books, which are sought because they are scarce, and would not have been scarce, had they been much esteemed.

To him we must ascribe the praise, unless Spenser may divide it with him, of having first discovered to how much smoothness and harmony the English language could be softened.  He has speeches, perhaps sometimes scenes, which have all the delicacy of Rowe, without his effeminacy.  He endeavours indeed commonly to strike by the force and vigour of his dialogue, but he never executes his purpose better, than when he tries to sooth by softness.

Yet it must be at last confessed, that as we owe every thing to him, he owes something to us; that, if much of his praise is paid by perception and judgement, much is likewise given by custom and veneration.  We fix our eyes upon his graces, and turn them from his deformities, and endure in him what we should in another loath or despise.  If we endured without praising, respect for the father of our drama might excuse us; but I have seen, in the book of some modern critick, a collection of anomalies, which shew that he has corrupted language by every mode of depravation, but which his admirer has accumulated as a monument of honour.