Preface to the Works of Shakespeare (1734) by Lewis Theobald


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Page 10

As the Conduct of Prince _Henry_ in the first Instance, the secret
and mental Reflexions in the Case of _Prospero_, and the instant
Detour of _Lear_ from the Violence of Rage to a Temper of Reasoning,
do so much Honour to that surprizing Knowledge of human Nature,
which is certainly our Author's Masterpiece, I thought, they could
not be set in too good a Light. Indeed, to point out, and exclaim
upon, all the Beauties of _Shakespeare_, as they come singly in
Review, would be as insipid, as endless; as tedious, as unnecessary:
But the Explanation of those Beauties, that are less obvious to
common Readers, and whose Illustration depends on the Rules of just
Criticism, and an exact Knowledge of human Life, should deservedly
have a Share in a general Critic upon the Author.

[Sidenote*: Mr. _Addison_ and _He_ compared, on a similar Topick.]

I shall dismiss the Examination into these his latent Beauties, when
I have made a short Comment upon a remarkable Passage from _Julius
C�sar_, which is inexpressibly fine in its self, *and greatly
discovers our Author's Knowledge and Researches into Nature.

Between the acting of a dreadful Thing,
And the first Motion, all the _Interim_ is
Like a Phantasma, or a hideous Dream:
The Genius, and the mortal Instruments
Are then in Council; and the State of Man,
Like to a little Kingdom, suffers then
The Nature of an Insurrection.

That nice Critick _Dionysius_ of _Halicarnassus_ confesses, that he
could not find those great Strokes, which he calls the _terrible
Graces_, in any of the Historians, which he frequently met with in
_Homer_. I believe, the Success would be the same likewise, if we
sought for them in any other of _our_ Authors besides our _British_
HOMER, _Shakespeare_. This Description of the Condition of
Conspirators has a Pomp and Terror in it, that perfectly astonishes.
Our excellent Mr. _Addison_, whose Modesty made him sometimes
diffident in his own Genius, but whose exquisite Judgment always led
him to the safest Guides, as we may see by those many fine Strokes
in his _Cato_ borrow'd from the _Philippics_ of _Cicero_, has
paraphrased this fine Description; but we are no longer to expect
those _terrible Graces_, which he could not hinder from evaporating
in the Transfusion.

O think, what anxious Moments pass between
The Birth of Plots, and their last fatal Periods.
Oh, 'tis a dreadful Interval of Time,
Fill'd up with Horror all, and big with Death.

I shall observe two Things on this fine Imitation: first, that the
Subjects of these two Conspiracies being so very different, (the
Fortunes of _C�sar_ and the _Roman_ Empire being concern'd in the
First; and That of only a few Auxiliary Troops, in the other;)
Mr. _Addison_ could not with Propriety bring in that magnificent
Circumstance, which gives the terrible Grace to _Shakespeare_'s
Description.

The Genius and the mortal Instruments
Are then in Council.----

For Kingdoms, in the poetical Theology, besides their good, have
their evil _Genius_'s likewise: represented here with the most
daring Stretch of Fancy, as fitting in Council with the Conspirators,
whom he calls the _mortal Instruments_. But this Would have been
too great an Apparatus to the Rape, and Desertion, of _Syphax_, and
_Sempronius_. Secondly, The other Thing very observable is, that Mr.
_Addison_ was so warm'd and affected with the Fire of _Shakespeare_'s
Description; that, instead of copying his Author's Sentiments, he
has, before he was aware, given us only the Image of his own
Impressions on the reading his great Original. For,

Oh, 'tis a dreadful Interval of Time,
Fill'd up with Horror all, and big with Death;

are but the Affections raised by such forcible Images as these;

----All the _Int'rim_ is
Like a Phantasma, or a hideous Dream.
----the State of Man,
Like to a little Kingdom, suffers then
The Nature of an Insurrection.

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