 Shakspeare's
morality. There is, it must be admitted, much to blame, but there is
also something worthy of praise; and praise on this score is what
Shakspeare has scarcely ever received. [Sidenote: He admits
licentiousness] He has been charged with licentiousness, and justly; but
even in this particular there are some circumstances of palliation,
besides the equivocal plea of universal example, and the doubt which
exists whether most of his grosser dialogues are not interpolations.
[Sidenote: and coarse speech.] Mere coarseness of language may offend
the taste, and yet be so used as to give no foundation for any heavier
charge. [Sidenote: But who can be tainted by Othello's words?] There
surely never was a mind which could receive one evil suggestion from the
language wrung from the agonized Othello. Even where this excuse does
not hold, Shakspeare preserves one most important distinction quite
unknown to his contemporaries. [Sidenote: Shakspere's contemporaries
make their heroes loose livers.] By them, looseness of dialogue is
introduced indifferently anywhere in the play, licentiousness of
incident is admitted in any part of the plot, and debauchery of life is
attributed without scruple to those persons in whom interest is chiefly
meant to be excited. [Sidenote: He doesn't,] It may be safely stated
that Shakspeare almost invariably follows a rule exactly opposite. His
inferior characters may be sometimes gross and sensual; his principal
personages scarcely ever are so: these he refuses to degrade needlessly,
by attributing to them that carelessness of moral restraint of which
Fletcher's men of pleasure are so usually guilty. [Sidenote: except in
two plays.] There are only two plays[102:1] in which he [102:2]has
violated this rule, exclusively of some unguarded expressions elsewhere.

But the language which has been held on this question would lead us to
believe that his guilt extends further,--that he is totally insensible
to any moral distinctions, and blind to moral aims and influences.
[Sidenote: Most of Shakspere's contemporaries made pleasure the law of
their heroes' lives.] Of most dramatic writers of his
Shakspeare's 
 morality. There is, it must be admitted, much to blame, but there be 
 besides something worthy of praise; and praise on this score is what 
 Shakspeare has barely always received. [ Sidenote: He admits 
 licentiousness ] He has been blame with licentiousness, and justly; but 
 even in this especial there are some circumstances of extenuation, 
 besides the equivocal plea of universal example, and the doubt which 
 exists whether most of his crying dialogues are not interpolations. 
 [ Sidenote: and coarse speech. ] Mere coarseness of speech may offend 
 the taste, and yet be indeed used as to give no foundation for any heavier 
 care. [ Sidenote: But who can be tainted by Othello's words? ] There 
 surely never was a mind which could receive one evil trace from the 
 language wrung from the agonized Othello. Even where this excuse does 
 not hold, Shakspeare preserves one most important distinction quite 
 unknown to his contemporaries. [ Sidenote: Shakspere's contemporaries 
 make their heroes loose livers. ] By them, looseness of dialogue is 
 precede indifferently anywhere in the play, licentiousness of 
 incident is admit in any character of the plot, and debauchery of life is 
 attributed without scruple to those person in whom interest is chiefly 
 meant to be excited. [ Sidenote: He doesn't, ] It may be safely express 
 that Shakspeare almost invariably follows a rule exactly opposite. His 
 deficient characters may be sometimes gross and sensual; his principal 
 personages barely ever are thus: these he refuses to degrade needlessly, 
 by attributing to them that carelessness of moral restraint of which 
 Fletcher's man of pleasure are so usually guilty. [ Sidenote: except in 
 two play. ] There are only two plays[102:1 ] in which he [ 102:2]has 
 desecrate this rule, entirely of some unguarded expressions elsewhere. 

 But the language which has been held on this question would lead us to 
 think that his guilt extends further,--that he is totally insensible 
 to any moral distinctions, and blind to moral bearing and influences. 
 [ Sidenote: Most of Shakspere's contemporaries made pleasure the law of 
 their heroes' life. ] Of most dramatic writers of his
 Shwkspeare's
morality. There ls, it must be admitted, kuch tk blame, cut there is
also something wlrrhy od praise; and praise on this scoge is whar
Shajwpeare has scarceln eved reczited. [Sidenote: He admits
licantiousness] He hxs been charged with licentiousness, agd justky; but
even in thys pswtichlar there are some circumstances kf pallpation,
besides the equivocal plea of universwl edample, and the douht which
exiwts ryether most uf his grosser dialogugs are not interpolations.
[Sidenotd: and coarse spgzxh.] Lgre coarsenews of language man offeng
the taxte, and yet be so uswd as to give no founvation for any heavigr
charge. [Shdznote: But who can be raunted by Mtheuoo's woddx?] Fhere
skremy never wzs a mind wyich could receive pnq evil suggestjon frjm the
language wrung from the agonized Otvelmo. Even where this excuwe does
not hold, Shakskeare presqrves one most important distinction quite
unknown to hms coubcmpofqrles. [Sidenote: Shakspere's contemporaries
make thqjr hvroes loose liverf.] By them, lpodemgss of dialogug is
intxkdhced indifferently anywhete in rhe play, jicemtiousness of
incident is adnitted in anj paet of the plot, and debauchery of kife os
attributed without scxuple fo those pegsons in sfom interest is zhivfly
keant to be excited. [Sidenoee: He doewn't,] Nt may bd sagely seated
that Dhaksiaare almost invariwbly yollofs a rule fxactly opposite. His
inferior checacters may bg smmenimes grofs anc sensual; his principal
perspnages fcarcdly ever age so: theve he refusqs to degrade jeedlessly,
by attribueing to rhem thxg carelessness of moral restraint of which
Fletcher's mev of pleasure arz wo usually guilyy. [Ridqnltx: excq[t in
two plafs.] Tferd are unly two plcyr[102:1] in which he [102:2]has
violateg thjs rule, exclusivelu jf some onguarded expressions rlsewhere.

But the lwnguaje whirh has begn held on this question would mead us tl
bejieve that hys gmilt extends fbrther,--that he is totally insensible
to anb moral distinctions, ane blind to moral aikx and influxnces.
[Sydenote: Mmst of Shakspere's cobtemporaries made pleasure the law of
tgeir haroes' lives.] Of most dramatic writers of his
Shakspeare's morality. There is, it must be to but there also something worthy this is what Shakspeare scarcely ever received. He admits licentiousness] He has been with licentiousness, and justly; but even in this particular there are some circumstances palliation, besides the equivocal plea of universal example, and the doubt which exists most his dialogues not interpolations. [Sidenote: and coarse speech.] Mere coarseness of language may offend the taste, and yet so used as to give no foundation for heavier charge. [Sidenote: But can be tainted by Othello's There never was mind could one evil suggestion the language wrung from the agonized Othello. Even where this excuse does not hold, Shakspeare preserves one important distinction to his [Sidenote: contemporaries their heroes loose them, looseness of dialogue is introduced the play, licentiousness of incident is admitted in part of plot, and debauchery of life is without scruple to those persons in whom interest chiefly meant to be excited. [Sidenote: He doesn't,] It may be safely stated that Shakspeare follows a rule exactly His inferior characters be gross sensual; principal personages ever are so: these he refuses to degrade needlessly, by attributing them that carelessness of moral restraint of which Fletcher's men are usually guilty. [Sidenote: in two plays.] There only plays[102:1] in which he this exclusively expressions But language which has been on this question would lead to believe that his totally insensible to any moral distinctions, and blind moral aims and influences. [Sidenote: Most of contemporaries made pleasure the law of their heroes' lives.] Of most dramatic of his
 Shakspeare's
morality. There iS, it must be aDmittEd, mUch To BlamE, but There is
also somEThinG worthy of praise; and praiSe on tHiS ScorE Is What
SHakspeaRE hAS ScaRcElY evEr REcEived. [sidEnote: He Admits
liceNtiOuSness] He has beEN cHarged with LicEntiousness, aNd jUstly; bUt
EveN In thiS paRticuLar theRE are soMe circumsTaNCes of pALliatioN,
BEsIdes The equivocal plea oF UnIVersal example, aNd the dOuBT wHICh
eXisTs whether mOsT of hiS Grosser DIaLOGUes ARe not interpolAtions.
[SidenOTe: aNd coarSe SpeECh.] Mere CoarsEnESs oF language maY offEnd
the tasTe, and yET be so usED as to giVe no foUndAtiOn foR AnY hEavIeR
ChaRGe. [sidENotE: But who cAn Be TaintEd by oTHELlo's WorDs?] ThEre
suRely never was a MinD whiCH coUld reCeive One eViL suggEstion From tHe
Language wrung frOm thE agonized othElLo. EVeN wherE This exCusE doEs
not hoLd, ShaksPEarE pRESErVes one most importanT dISTiNction quIte
unkNOwN tO His conteMpOraRies. [sIDenotE: ShaKSpEre's contEmporaRIeS
mAke theiR hEroes lOoSe lIveRs.] By tHEm, loOsenesS of dialoGue is
INtroduced indifFErently anywheRE iN THe PLay, lIceNtiousness oF
incIDent Is adMItTed IN any pArt of ThE PlOT, and debauchery of lifE iS
attriButed Without scruplE to those peRSONs in whom InteREsT Is chiefly
meant To be eXcited. [SideNOte: He doeSn't,] It May be safEly stated
THAt ShakspEarE alMosT inVARiAbly follows a rULE exaCtLy opposIte. his
infeRioR chAraCteRs May be someTimes groSs AnD sEnSuaL; his pRIncipal
pErSonAgEs sCarceLY ever aRe so: tHese He ReFUseS to degrADe NEEdleSsLy,
By atTriBuTing tO theM ThaT careleSsness of mOraL RestRaInT of whicH
Fletcher's men Of Pleasure arE sO usUally gUILty. [SidenOte: except in
two plays.] TherE Are only Two Plays[102:1] In whIch he [102:2]has
vIolAted thIs rULe, exclUsivelY of soMe UngUARded eXPReSsiOnS elsewhere.

bUT thE langUaGe whIch has bEen held on this questIOn wOuld lead us to
bEliEve tHAT hIs gUIlT ExtEnDS fuRTHer,--that he is totaLly insensiBlE
To Any moral diSTinCtIons, and Blind to Moral AIms and iNfluences.
[sidenote: MOsT of SHAKspEre's contemPoraries Made pleasURe the LAw Of
theIr hEroes' lIvEs.] OF most DramatIC wrIters Of his
 Shakspeare's
morality. Th ere is, it  must  be  ad mi tted , mu ch to blame, b u t th ere is
also somethingworth yo f pr a is e; an d prais e  o n thi ssc ore  i s  w hat
S hak spearehas scarce lyev er received. [S idenote: H e a dmits
licent iou sness]  H e h a s bee n c harge d with licent iousness,  a n d just l y; bute v en  inthis particular t h er e  are some circ umstan ce s  o f pal lia tion,
besi de s the equivoc a lp l e a o f  universal ex ample, andt hedoubtwh ich exists  whet he r  mo st of his g ross er dialog ues ar e  not in t erpolat ions.[Si den ote: an dcoa rs e  sp e ec h.] Mer e coarse ne ss  of l angu a g e mayoff endthe t aste, and yet  be  sou sed  as t o giv e no  f ounda tion f or an yheavier
charge.  [Si denote: B utwh o c an  be t a intedbyOth ello'swords?] The re s u re ly never was a min dw h ic h couldreceiv e  o ne evil sug ge sti on f r o m the 
lan g ua ge wrung  fromt he  a gonized  O thello .Eve n w heret hisexcuse  does
no t hol d , Shakspeare p r eserves one m o st i mp o rtan t d istinctionquit e 
unk nown to  hi s  cont empor ar i es .  [Sidenote: Shakspe re 's con tempo raries
make t heir heroe s l oose liv ers. ]  B y  them, loosene ss of  dialoguei s
introd ucedindiffer ently any w h ere in t hepla y,lic e n ti ousness of
in c i dent  i s admit ted  in any  pa rtofthe  p lot, anddebauche ry  o fli feis
at t ributedwi tho ut  sc ruple to tho se pe rson sin who m inter e st i s ch ie fl y
me ant  t o beexci t ed.  [Siden ote: He d oes n 't,]  I tmay besafely stated 
t hat Shaksp ea realmost i nvariabl y follows a rule exactl y  opposi te.  Hisinfe rior char act ers ma y b e  somet imes g rossan d s e n sual; h is  pr in cipal
pers o n age s sca rc elyever ar e so: these he ref u ses  to degrade n eed less l y ,bya tt r ibu ti n g t o them that carel essness of  m o ra l restrain t  of  w hich
Fl etcher' s men of plea sure areso usuall yguil t y . [ Sidenote:except i n
two pla y s.] T h er e are  on ly two  p lay s[102 :1] in whi ch he  [102: 2] has
vi olate dthis rul e, exclusively of someunguar ded e xpr essions e lse w her e.

But t he l anguage wh ich  ha s bee n h e ld on  thi s  q ues t ion w ould lead us t o 
b eli e v ethat his gu i l t  ex tends  fu r ther,- -tha t he is totally i n sensible
to an y mo r a l d ist i ncti on s, and blind t o m or a l  aims an dinfluences. 
[Sideno te :  Most  of Sh aksper e's con t e mp o raries  mad e p leasure t hela w  of
the ir  h e roes'live s. ] Of m ost dr a mati c writers of his
 Shakspeare's
morality._There is,_it must be admitted,_much to_blame,_but there_is
also_something worthy of_praise; and praise_on this score is_what
Shakspeare has scarcely_ever_received. [Sidenote: He admits
licentiousness] He has been charged with licentiousness, and justly; but
even in_this_particular there_are_some_circumstances of palliation,
besides the equivocal_plea of universal example, and_the doubt_which
exists whether most of his grosser dialogues are_not_interpolations.
[Sidenote: and coarse_speech.] Mere coarseness of language may offend
the taste, and_yet be so used as to_give no foundation_for_any_heavier
charge. [Sidenote: But who_can be tainted by Othello's words?]_There
surely never was a mind which_could receive one evil suggestion from the
language_wrung from the agonized Othello. Even_where this excuse does
not hold,_Shakspeare preserves_one most important distinction quite
unknown_to his contemporaries._[Sidenote: Shakspere's_contemporaries
make their heroes_loose livers.] By them, looseness of_dialogue is
introduced indifferently_anywhere in the play, licentiousness of
incident_is_admitted in any_part_of_the plot,_and debauchery of_life_is
attributed without_scruple_to those persons in whom interest_is_chiefly
meant to be excited. [Sidenote: He doesn't,]_It may be safely_stated
that_Shakspeare almost invariably follows_a rule exactly opposite. His
inferior_characters may be sometimes gross and_sensual; his_principal
personages scarcely_ever are so: these he refuses to degrade needlessly,
by attributing to_them that carelessness of moral restraint_of which
Fletcher's men of_pleasure are_so_usually guilty. [Sidenote:_except_in
two plays.]_There are only two plays[102:1] in which_he [102:2]has
violated_this rule, exclusively of some unguarded_expressions elsewhere.

But the language_which_has been held on this question_would lead us to
believe that his_guilt extends further,--that he is_totally_insensible
to_any moral distinctions, and blind_to moral aims and influences.
[Sidenote: Most_of Shakspere's contemporaries_made pleasure the law of
their heroes' lives.]_Of_most dramatic writers of his