standing only; that is, censuring the action with very little conscientious investigation even of that; and transferring the censure, in every odious colour, to the actor himself; how much soever our hearts and affections might secretly revolt: For as to the Impression, we have already observed that it has no tongue; nor is its operation and influence likely to be made the subject of conference and communication.
It is not to the Courage only of Falstaff that we think these observations will apply: No part whatever of his character seems to be fully settled in our minds; at least there is something strangely incongruous in our discourse and affections concerning him. We all like Old Jack; yet, by some strange perverse fate, we all abuse him, and deny him the possession of any one single good or respectable quality. There is something extraordinary in this: It must be a strange art in Shakespeare which can draw our liking and good will towards so offensive an object. He has wit, it will be said; chearfulness and humour of the most characteristic and captivating
