Boyle congratulated himself upon his high birth, because it favoured his curiosity, by facilitating his access.  Shakespeare had no such advantage; he came to London a needy adventurer, and lived for a time by very mean employments.  Many works of genius and learning have been performed in states of life, that appear very little favourable to thought or to enquiry; so many, that he who considers them is inclined to think that he sees enterprise and perseverance predominating over all external agency, and bidding help and hindrance vanish before them.  The genius of Shakespeare was not to be depressed by the weight of poverty, nor limited by the narrow conversation to which men in want are inevitably condemned; the incumbrances of his fortune were shaken from his mind, “as dewdrops from a lion’s mane.”

Though he had so many difficulties to encounter, and so little assistance to surmount them, he has been able to obtain an exact knowledge of many modes of life, and many casts of native dispositions; to vary them with great multiplicity; to mark them by nice distinctions; and to shew them in full view by proper combinations.  In this part of his performances He had none to imitate, but has himself been imitated by all succeeding writers; and it may be doubted, whether from all his successors more maxims of theoretical knowledge, or more rules of practical prudence, can be collected, than he alone has given to his country.

Nor was his attention confined to the actions of men; he was an exact surveyor of the inanimate world; his descriptions have always 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.”