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When shall he cease to give light and delight? Yet even at this moment he is only receiving the first-fruits of that glory, which must continue to augment as long as our language is spoken. English has given immortality to him, and he has given immortality to English. Shakspeare can never die, and the language in which he wrote must with him live for ever. Yet, in spite of all this, some prejudices have attached themselves to the name of our illustrious countryman, which it will be necessary for me first to endeavour to over- come. On the continent, we may remark, the works of Shakspeare are honoured in a double way — by the admira- tion of the Germans, and by the contempt of the French.
Among other points of objection taken by the French, perhaps, the most noticeable is, that he has not observed the sacred unities, so hallowed by the practice of their own extolled tragedians. Death 1 ere thou hast slain another, Learn 'd, and fair, and good as she. Time shall throw a dart at thee. C 402 The Second Lecture was a mere child of nature, who did not know any better than to write as he has written. To remedy this mistake there is but one course, namely the acquirement of knowledge. I have often run the risk of applying to the ignorant, who assumed the post and pro- vince of judges, a ludicrous, but not inapt simile : they remind me of a congregation of frogs, involved in darkness in a ditch, who keep an eternal croaking, until a lantern is brought near the scene of their disputation, when they instantly cease their discordant harangues.
They may be more politely resembled to night-flies, which flutter round the glimmering of a feeble taper, but are overpowered by the dazzling splendour of noon-day. Nor can it be other- wise, until the prevalent notion is exploded, that know- ledge is easily taught, and until the conviction is general, that the hardest thing learned is that people are ignorant. All are apt enough to discover and expose the ignorance of their friends, but their blind faith in their own sufficiency is something more than marvellous. Some persons have contended that mathematics ought to be taught by making the illustrations obvious to the senses. The condition of the stage, and the character of the times in which our great poet flourished, must first of all be taken into account, in considering the question as to his judgment. I have no doubt, however, that both were right in their divergent courses, and that they arrived at the same conclusion by a different process.
Without entering into matters which must be generally known to persons of education, respecting the origin of tragedy and comedy among the Greeks, it may be observed, that the unities grew mainly out of the size and construc- tion of the ancient theatres : the plays represented were made to include within a short space of time events which it is impossible should have occurred in that short space. This fact alone establishes, that all dramatic performances were then looked upon merely as ideal. If we want to witness mere pain, we can visit the hospitals : if we seek the exhibition of mere pleasure, we can find it in ball-rooms. The true pleasure we derive from theatrical performances arises from the fact that they are unreal and fictitious. If djring agonies were unfeigned, who, in these days of civilisation, could derive gratification from behold- ing them? The fact that the ancient choruses were always on the stage made it impossible that any change of place should be represented, or even supposed.
