hermit may eſtimate the tranſactions of the world, and a confeſſor predict the progreſs of the paſſions.
His adherence to general nature has expoſed him to the cenſure of criticks, who form their judgments upon narrower principles. Dennis and Rhymer think his Romans not ſufficiently Roman; and Voltaire cenſures his kings as not completely royal. Dennis is offended, that Menenius, a ſenator of Rome, ſhould play the buffoon; and Voltaire perhaps thinks decency violated when the Daniſh uſurper is repreſented as a drunkard. But Shakeſpeare always makes nature predominate over accident; and if he preſerves the eſſential character, is not very careful of diſtinctions ſuperinduced and adventitious. His ſtory requires Romans or kings, but he thinks only on men. He knew that Rome, like every other city, had men of all diſpoſitions; and wanting a buffoon, he went into the ſenate-houſe for that which the ſenate-houſe would certainly have afforded him. He was inclined to ſhew an uſurper and a murderer not only odious, but deſpicable; he therefore added drunkenneſs to his other qualities, knowing that kings love wine like other men, and that wine exerts its natural power upon kings. Theſe are the petty cavils of petty minds; a poet overlooks the caſual diſtinction of country and condition, as a painter, ſatisfied with the figure, neglects the drapery.
The cenſure which he has incurred by mixing comick and tragick ſcenes, as it extends to all his works, deſerves more conſideration. Let the fact be firſt ſtated, and then examined.
Shake-
