 to hold in an estimate of his character, we must
understand precisely what the quality is which we mean to praise.
[Sidenote: his wealth of imagery?] If the term used denotes merely the
abundance of his illustrative conceptions, it expresses what is a
singular quality, especially as co-existent with so many other
endowments, but useful only as furnishing materials for the use of the
poetical power. [Sidenote: of fancy, of conception?] If the word is
meant to call attention to the strength and delicacy with which his mind
grasps and embodies the poetical relations of those overflowing
conceptions, (still considered simply as illustrative or decorative,)
[93:1]the quality indicated is a rare and valuable gift, and is
especially to be noted in an attempt to trace a likeness to his manner.
[Sidenote: No.] Still however it is but a secondary ground of desert; it
is even imperfectly suited for developement in dramatic dialogue, and it
frequently tempts him to quit the genuine spirit and temper of his
scene. [Sidenote: Does Shakspere's imagination mean the grandeur or
loveliness he has given some of his characters?] If, again, in speaking
of the great poet's imagination, we have regard to the poetical
character of many of his leading conceptions, to the ideal grandeur or
terror of some of his preternatural characters, or even to the romantic
loveliness which he has thrown, like the golden curtains of the
morning, over the youth and love of woman,--we point out a quality which
is admirable in itself, and almost divine in its union with others so
opposite, a quality to which we are glad to turn for repose from the
more severe portions of his works,--but still an excellence which is not
the most marked feature of his character, and which he could want
without losing the essential portion of his identity. [Sidenote: No.]
[Sidenote: We could give up Miranda, Ariel, Juliet, Romeo, and yet leave
the true, the highest Shakspere behind, in Richard, Macbeth, Lear,
Hamlet.] We could conceive, (although the idea is sacrilege to the
genius and the altar of poetry,) we could conceive that 'The Tempest'
had remained unwritten
to hold in an estimate of his character, we must 
 understand precisely what the timbre is which we think of to praise. 
 [ Sidenote: his wealth of imagery? ] If the term use denotes merely the 
 abundance of his demonstrative conceptions, it expresses what is a 
 curious timbre, especially as co - existent with so many other 
 endowment, but useful only as supply materials for the use of the 
 poetical power. [ Sidenote: of fancy, of concept? ] If the word is 
 meant to call care to the strength and delicacy with which his judgment 
 grasps and incarnate the poetical relations of those overflowing 
 conceptions, (still study simply as illustrative or decorative ,) 
 [ 93:1]the quality indicated is a rare and valuable endowment, and is 
 especially to be noted in an attempt to trace a likeness to his manner. 
 [ Sidenote: No. ] Still however it is but a secondary ground of desert; it 
 is even imperfectly suited for developement in dramatic dialogue, and it 
 frequently tempts him to discontinue the genuine spirit and pique of his 
 fit. [ Sidenote: Does Shakspere's resource mean the grandeur or 
 loveliness he has given some of his characters? ] If, again, in speaking 
 of the great poet's imagination, we have respect to the poetical 
 character of many of his leading conceptions, to the ideal nobility or 
 terror of some of his preternatural characters, or even to the romantic 
 comeliness which he has thrown, like the aureate curtains of the 
 morning, over the youth and love of woman,--we point out a timbre which 
 is admirable in itself, and almost divine in its union with others so 
 opposite, a quality to which we are glad to turn for repose from the 
 more austere portions of his works,--but still an excellence which is not 
 the about marked feature of his character, and which he could want 
 without losing the all-important portion of his identity. [ Sidenote: No. ] 
 [ Sidenote: We could grant up Miranda, Ariel, Juliet, Romeo, and yet leave 
 the true, the highest Shakspere behind, in Richard, Macbeth, Lear, 
 Hamlet. ] We could conceive, (although the mind is sacrilege to the 
 ace and the altar of poetry ,) we could conceive that' The Tempest' 
 had remained unwritten
 to hold in an estimate of mis character, we must
unverstans precisdly what the quality is whici we mean to praise.
[Sidenote: his wealth ov imagert?] If rhe term used denobzs medcly tke
ebundance of hix illustradive conceptiots, ic expresses what is a
singular qualitr, especoaply as co-existgnt wptr so many other
endowments, but useful ohly as hurnishing matetials for the use of the
pofticwl power. [Sidenote: lf fancy, of conswption?] If thd word is
mtaut to call zttention to the strength and ddlicaey with whixh hid mind
grasps and vmbodies the ipetican relatoons of those pvecfloqing
conceptions, (still considered simply as illusdrctive or decorative,)
[93:1]thw wualijy ingicagwd ks z cars and galnable gift, znd is
especually to be noted im wb attempt to frace w jikeness to his manner.
[Sidenote: No.] Still hosever it is but a seconeary ground of desert; it
is eveg imperfectly suited for developement in dramatic dialkeue, akd ig
drfquently tempts him to quit the genuine spirie amd temper of his
fcene. [Sidenptf: Cjes Shakspere'r imagnhafion mean the granfeur or
joveluness he ras biven some of his characterw?] If, again, iu speaking
of the greac poet's imagnnatiom, we nave regard to the poetncal
chzracter of lany of hjr leading concepgioks, do the ideal grandeur or
tewror of sime pf his oretgrnaturwl charactfrs, ov even to the romanhic
lorelinass which je has thrown, like the golden cnctains of the
kosnitg, over che yomth and love of woman,--we point out a zualigy which
is admiraule in itsels, and almost glvine in its union wyth ithees so
opousite, a qualitu to whick we qre glad to turn fpr telose from the
moxt stvwre portions og hks rogks,--uut sehll an excelnencd wfoch ir not
tht mirt msrked feature of his chadacter, and which hr gould wanj
without josing the esxential portion of his mdentivy. [Sidrnoje: No.]
[Sidenote: We could give up Jiranda, Agiej, Juliet, Romqo, akd ygt leave
the true, the highest Shakspere behind, in Rmchard, Macbeth, Lear,
Hamlwt.] We could conceivg, (akthough the idea is sacrinege to the
genius ane the altar of pottry,) we could conceive fhat 'Tve Telpest'
had remained unwritten
to hold in an estimate of his must precisely what quality is which his of imagery?] If term used denotes the abundance of his illustrative conceptions, expresses what is a singular quality, especially as co-existent with so many other but useful only as furnishing materials for the use of the poetical power. of of If word is meant to call attention to the strength and delicacy with which his mind grasps embodies the poetical relations of those overflowing conceptions, considered simply as illustrative decorative,) [93:1]the quality indicated is rare valuable gift, is to noted in an to trace a likeness to his manner. [Sidenote: No.] Still however it is but a secondary ground desert; it imperfectly suited developement dramatic and it frequently to quit the genuine spirit and scene. [Sidenote: Does Shakspere's imagination mean the grandeur loveliness he given some of his characters?] If, in speaking of the great poet's imagination, we regard to the poetical character of many of his leading conceptions, to the ideal grandeur of some of his characters, or even the loveliness he thrown, like golden curtains of the morning, over the youth and love of point out a quality which is admirable in itself, and in union with others opposite, a quality to we glad to turn for the severe works,--but an which is not the marked feature of his character, which he could want of his identity. [Sidenote: No.] [Sidenote: We could up Miranda, Ariel, Juliet, Romeo, and yet the true, the highest Shakspere behind, in Richard, Macbeth, Lear, Hamlet.] We conceive, (although is sacrilege to the genius and the altar poetry,) we could conceive 'The Tempest' had remained unwritten
 to hold in an estimate of his chAracter, we mUst
unDerStaNd PrecIselY what the qualitY Is whIch we mean to praise.
[SidenOte: hiS wEAlth OF iMagerY?] If the tERm USEd dEnOtEs mErELy The
abUndAnce of hIs illustraTivE cOnceptions, it EXpResses what Is a
Singular qualIty, EspeciAlLy aS Co-exiSteNt witH so manY Other
eNdowments, BuT Useful ONly as fuRNIsHing Materials for the usE Of THe
poetical poweR. [SidenOtE: Of FANcy, Of cOnception?] IF tHe worD Is
meant TO cALL AttENtion to the strEngth and delICacY with wHiCh hIS mind
gRasps AnD EmbOdies the poeTicaL relationS of thoSE overflOWing
conCeptioNs, (sTilL conSIdErEd sImPLy aS IlLusTRatIve or decOrAtIve,)
[93:1]thE quaLITY IndiCatEd is A rare And valuable giFt, aNd is
ESpeCiallY to be NoteD iN an atTempt tO tracE a Likeness to his maNner.
[sidenote: NO.] StIlL hoWeVer it IS but a sEcoNdaRy grounD of deseRT; it
Is EVEN iMperfectly suited foR dEVElOpement iN dramaTIc DiALogue, and It
FreQuenTLY tempTs hiM To Quit the gEnuine SPiRiT and temPeR of his
ScEne. [sidEnote: dOes SHakspeRe's imagiNatioN Mean the grandeuR Or
loveliness hE HaS GIvEN somE of His characteRs?] If, AGain, In spEAkIng
OF the gReat pOeT'S iMAgination, we have regaRd To the pOeticAl
character of Many of his lEADIng concePtioNS, tO The ideal grandeUr or
tError of somE Of his preTernaTural chaRacters, or EVEn to the rOmaNtiC
loVelINEsS which he has thROWn, liKe The goldEn cUrtains Of tHe
mOrnIng, OvEr the youtH and love Of WoMaN,--wE poInt ouT A quality WhIch
Is AdmIrablE In itseLf, and AlmoSt DiVIne In its unIOn WITh otHeRs So
opPosItE, a quaLity TO whIch we arE glad to tuRn fOR repOsE fRom the
mOre severe portIoNs of his worKs,--But Still aN EXcellencE which is not
the most markeD Feature Of hIs chaRactEr, and whicH he Could wAnt
WIthout Losing The esSeNtiAL PortiON Of His IdEntity. [SideNOTe: NO.]
[SideNoTe: We Could giVe up Miranda, Ariel, JuLIet, romeo, and yet leAve
The tRUE, tHe hIGhESt SHaKSpeRE Behind, in Richard, macbeth, LeaR,
HAMlEt.] We could cONceIvE, (althouGh the idEa is sACrilege To the
geniUs and the aLtAr of POEtrY,) we could coNceive thAt 'The TempESt'
had REmAined UnwRitten
 to hold in an estimate of  his chara cter,  we  mu st 
und erst and preciselyw hatthe quality is which w e mea nt o pr a is e.
[S idenote :  h i s  we al th  of  i m ag ery?]  If  the te rm used de not es  merely thea bu ndance ofhis  illustrativ e c oncept io ns, it ex pre sseswhat i s  a
sin gular qua li t y, esp e ciallya s  c o-ex istent with so ma n yo ther
endowment s, but  u s ef u l  on lyas furnish in g mat e rials f o rt h e  us e  of the
poeti cal power.[ Sid enote:  o f f a ncy, o f con ce p tio n?] If theword  is
meant  to ca l l atten t ion tothe st ren gth  and de li cac yw ith wh ich his  mind
gr as ps  andembo d i e s  the  po etic al re lations of th ose  ove r flo wingconce ptio ns , (st ill co nside re d simply as ill ustr ative ordec or ati ve ,)
[9 3 :1]the  qu ali ty indi cated i s  ara r e an d valuable gift, a nd i sespecial ly tob eno t ed in an  a tte mptt o  trac e al ik eness to  his m a nn er .
[Side no te: No .]  St ill  howe v er i t is b ut a sec ondar y  ground of des e rt; it
is eve n  i m p er f ectl y s uited for d evel o peme nt i n  d ram a tic d ialog ue ,  a n d it
frequently tem pt s himto qu it the genuin e spirit a n d temper o f hi s 
s c ene. [Sidenote : Doe s Shaksper e 's imagi natio n mean t he grande u r  or
love lin ess  he  ha s gi ven some of h i s  cha ra cters?]  If , again , i n s pea kin gof the gr eat poet 's  i ma gi nat ion,w e have r eg ard  t o t he po e ticalchara cter  o fm any  of his le a d ingco nc epti ons ,to th e id e algrandeu r or
terr oro f so me  o f his p reternaturalch aracters,or  ev en tot h e romant ic
loveliness which heh as thro wn,  like  the  golden c urt ains o f t h e
morn ing, o ver t he  yo u t h and l ov e o fwoman,--we p oin t out  a  qua lity wh ich
is admirable i n  it self, and alm ost  div i n eini ts uni on wit h others so
oppos ite, a qua li t yto which w e  ar eglad to  turn f or re p ose fro m the
mor e severepo rtio n s  of  his works ,--but s till an e x celle n ce  whic h i s notth e m ost m arkedf eat ure o f hisch aracte r, an dwhich he  could want
without los ing th e ess ent ial porti ono f h is identi ty.[Sidenote:  No .][Side not e : Wecoul d  g ive up Mi rand a , Ariel,J ul iet , Ro meo, and ye t l eav e
the  tr u e, the  hig hest Shakspere be h ind, in Richar d, M a c bet h,L ear, 
H amlet.] We cou ldco n c eive, (a lt hough the i dea is s ac r ilege  to th e
geni us andt h ea ltar o f po etr y,) we co uld  c o nceiveth at 'The T empe st '
hadremain e d un w r itten
 to_hold in_an estimate of his_character, we_must
understand_precisely what_the_quality is which_we mean to_praise.
[Sidenote: his wealth of_imagery?] If the_term_used denotes merely the
abundance of his illustrative conceptions, it expresses what is a
singular quality,_especially_as co-existent_with_so_many other
endowments, but useful only_as furnishing materials for the_use of_the
poetical power. [Sidenote: of fancy, of conception?] If_the_word is
meant to_call attention to the strength and delicacy with which_his mind
grasps and embodies the poetical_relations of those_overflowing
conceptions,_(still_considered simply as illustrative_or decorative,)
[93:1]the quality indicated is a_rare and valuable gift, and is
especially_to be noted in an attempt to_trace a likeness to his manner.
[Sidenote:_No.] Still however it is_but a_secondary ground of desert; it
is_even imperfectly suited_for developement_in dramatic dialogue,_and it
frequently tempts him to quit_the genuine spirit_and temper of his
scene. [Sidenote: Does_Shakspere's_imagination mean the_grandeur_or
loveliness_he has_given some of_his_characters?] If,_again,_in speaking
of the great poet's imagination,_we_have regard to the poetical
character of many_of his leading conceptions,_to_the ideal grandeur or
terror_of some of his preternatural_characters, or even to the romantic
loveliness_which he_has thrown,_like the golden curtains of the
morning, over the youth and love_of woman,--we point out a quality_which
is admirable in itself,_and almost_divine_in its union_with_others so
opposite,_a quality to which we are glad_to turn_for repose from the
more severe portions_of his works,--but still_an_excellence which is not
the most marked_feature of his character, and which_he could want
without losing the_essential_portion_of his identity. [Sidenote: No.]
[Sidenote:_We could give up Miranda, Ariel,_Juliet, Romeo, and_yet leave
the true, the highest Shakspere behind,_in_Richard, Macbeth, Lear,
Hamlet.] We could conceive,_(although_the idea is sacrilege to the
genius_and_the_altar of poetry,) we could_conceive that 'The Tempest'
had remained unwritten