His first defect is that to which may be imputed most of the evil in books or in men.  He sacrifices virtue to convenience, and is so much more careful to please than to instruct, that he seems to write without any moral purpose.  From his writings indeed a system of social duty may be selected, for he that thinks reasonably must think morally; but his precepts and axioms drop casually from him; he makes no just distribution of good or evil, nor is always careful to shew in the virtuous a disapprobation of the wicked; he carries his persons indifferently through right and wrong, and at the close dismisses them without further care, and leaves their examples to operate by chance.  This fault the barbarity of his age cannot extenuate; for it is always a writer’s duty to make the world better, and justice is a virtue independant on time or place.

The plots are often so loosely formed, that a very slight consideration may improve them, and so carelessly pursued, that he seems not always fully to comprehend his own design.  He omits opportunities of instructing or delighting which the train of his story seems to force upon him, and apparently rejects those exhibitions which would be more affecting, for the sake of those which are more easy.

It may be observed, that in many of his plays the latter part is evidently neglected.  When he found himself near the end of his work, and, in view of his reward, he shortened the labour, to snatch the profit.  He therefore remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.

He had no regard to distinction of time or place, but gives to one age or nation, without scruple, the customs, institutions, and opinions of another, at the expence not only of likelihood, but of possibility.  These faults Pope has endeavoured, with more zeal than judgment, to transfer to his imagined in interpolators.  We need not wonder to find Hector quoting Aristotle, when we see the loves of Theseus and Hippolyta combined with the Gothic mythology of fairies.  Shakespeare, indeed, was not the only violator of chronology, for in the same age Sidney, who wanted not the advantages of learning, has, in his “Arcadia”, confounded the pastoral with the feudal times, the days of innocence, quiet and security, with those of turbulence, violence and adventure.

In his comick scenes he is seldom very successful, when he engages his characters in reciprocations of smartness and contest of sarcasm; their jests are commonly gross, and their pleasantry licentious; neither his gentlemen nor his ladies have much delicacy, nor are sufficiently distinguished from his clowns by any appearance of refined manners.  Whether he represented the real conversation of his time is not easy to determine; the reign of Elizabeth is commonly supposed to have been a time of stateliness, formality and reserve, yet perhaps the relaxations of that severity were not very elegant.  There must, however, have been always some modes of gayety preferable to others, and a writer ought to chuse the best.