, that Miranda had not made inexperience beautiful
by the spell of innocence and youth, that the hideous slave Caliban had
never scowled and cursed, nor Ariel alighted on the world like a
shooting-star,--we could dismiss alike from our memories the moon-light
forest in which the Fairy Court revel, and the lurid and spectre-peopled
ghastliness of the cave of Hecate,--we could in fancy remove from the
gallery of the poet's art the picture which exhibits the two
self-destroyed lovers lying side by side in the tomb of the
Capulets,--and we could discard from our minds, and hold as never having
been invented by the poet, all which we find in his works possessing a
character similar to these scenes and figures;--and yet we should leave
behind that which would support Shakspeare as having pursued the highest
ends of his art, and as having attained those ends more fully than any
other who ever followed them: Richard would still be his; Macbeth would
think and tremble, and Lear weep and be mad; and Hamlet would still pore
over the riddle of life, and find in death the solution of its mystery.
[Sidenote: These show his Imagination, the force with which he throws
himself into their characters.] If it is to such characters as these
last that we refer when we speak of the poet's power of
imagina[94:1]tion, and if we wish to designate by the word the force
with which he throws himself into the conception of those characters,
then we apprehend truly what the sphere is in which his greatness lies,
although we either describe the whole of a most complicated mental
process by naming a single step of it, or load the name of that one
mental act with a weight of meaning which it is unfit to bear.

[Sidenote: Shakspere's supremacy lies in his characterization.]

It is here, in his mode of dealing with human character, that
Shakspeare's supremacy confessedly lies; and the conclusions which we
have reached as to the great purpose of poetry, allow us easily to
perceive how excellence in this department justifies the universal
decision, which places at the summit of poetical art the poet who is
pre-eminently distinguished by it. [Sidenote: Why is his
, that Miranda had not made inexperience beautiful 
 by the spell of innocence and youth, that the hideous slave Caliban had 
 never scowl and curse, nor Ariel alighted on the world like a 
 shooting - star,--we could displace alike from our memory the moon - light 
 forest in which the Fairy Court revel, and the lurid and ghost - people 
 ghastliness of the cave of Hecate,--we could in fancy remove from the 
 gallery of the poet's artwork the movie which exhibits the two 
 self - destroy lovers lying english by slope in the tomb of the 
 Capulets,--and we could discard from our minds, and hold as never having 
 been invented by the poet, all which we find in his oeuvre possessing a 
 character similar to these scene and figures;--and yet we should leave 
 behind that which would support Shakspeare as having pursued the high 
 ends of his art, and as having attained those ends more fully than any 
 early who ever followed them: Richard would still be his; Macbeth would 
 think and tremble, and Lear weep and be mad; and Hamlet would however pore 
 over the riddle of life, and find in death the solution of its mystery. 
 [ Sidenote: These show his Imagination, the force with which he throws 
 himself into their characters. ] If it is to such characters as these 
 last that we mention when we speak of the poet's power of 
 imagina[94:1]tion, and if we wish to intend by the parole the force 
 with which he throws himself into the conception of those character, 
 then we apprehend truly what the sphere is in which his greatness lie down, 
 although we either describe the whole of a most complicated mental 
 process by naming a single footprint of it, or load the name of that one 
 mental act with a weight of meaning which it is unfit to bear. 

 [ Sidenote: Shakspere's domination lies in his portrayal. ] 

 It is here, in his mood of dealing with human character, that 
 Shakspeare's supremacy confessedly lie down; and the conclusions which we 
 have reached as to the great function of poetry, allow us easily to 
 perceive how excellence in this department justifies the universal 
 decisiveness, which places at the summit of poetical art the poet who is 
 pre - eminently distinguished by it. [ Sidenote: Why is his
, thwt Miranda had not made lnexperience beaotuful
by the slell of knnocence and youth, that the hudeouw slave Caliban had
nevdr scowlef and cuesed, bor Ariel emighted on ths wornv like a
shootinn-star,--we cound dismiss aline fxom our memories the moon-light
forest in whivh the Fairy Coutt renej, ans the lurid and spectre-peopled
ghasfliness of the cave pf Hecate,--we could in fancy remlve from the
gallerj of the pogf's wet the pictufe which eqkibits the jwo
self-destroyed lovers lying siae by side in tye tolt of the
Capnlets,--agd we could discard xrom out minds, and hokd es nwver having
been invenved by the poet, all rhich we xiud in his works possewsung a
whardctef sioilzr tk thesf srenes and fjgures;--and ywt we should leave
bthige that which sould fu[port Shakspeare as having pursued the viggest
ends of his art, and as having attained tjose ends more fully than any
other who ever followed them: Sichacd wobod stkol be his; Macbeth would
think and tremble, and Lewd eevp and be mad; and Hamlet woukd syyll pore
over jhe ridbme of life, and find ln deatr the solution of ots mystery.
[Sidenote: These syow his Imagpnatuon, the force with which he tkrows
homselg into their characters.] If jt is to sufh characfdrs as these
last thst we refer when we speak of the poet'w pocer of
imxgins[94:1]tion, wnd if we aish bm designate by the word tve force
wihh which he throws himself into the conceptiom mf nhose chaxacterx,
then we apprqhend truly whct the s'here ks in whicg his gceatness lief,
although we alther descriue the whjle if a most cuoplicated mentsl
process by naming a single step of lt, or moad the name oy uhqt one
mental avt ditr w xeighe of meaning fhicf ig is uvfit to beav.

[Siaenoye: Shakspere's supremdcy mies in his characyevization.]

Ij is here, in his mode pf dealing with hulan ciaractxr, thay
Shwkspeare's supremacy confessedlg lies; anf tme conclusionf whlch re
have reaehed as to the great purpose of poetry, aolow us easily to
kerceive how excellenee in this de'artmegt justifhes the universal
decusion, which placex at the summit of postical art hhe poet who is
pre-eminently distinguished by it. [Sidenote: Why is his
, that Miranda had not made inexperience the of innocence youth, that the scowled cursed, nor Ariel on the world a shooting-star,--we could dismiss alike from memories the moon-light forest in which the Fairy Court revel, and the lurid spectre-peopled ghastliness of the cave of Hecate,--we could in fancy remove from the of poet's the which exhibits the two self-destroyed lovers lying side by side in the tomb of the Capulets,--and could discard from our minds, and hold as having been invented by poet, all which we find his possessing a similar these and figures;--and yet should leave behind that which would support Shakspeare as having pursued the highest ends of his art, as having ends more than other ever followed them: still be his; Macbeth would think Lear weep and be mad; and Hamlet would pore over riddle of life, and find in the solution of its mystery. [Sidenote: These show Imagination, the force with which he throws himself into their characters.] If it is to as these last that refer when we of poet's of and if wish to designate by the word the force with which he himself into the conception of those characters, then we apprehend the is in which greatness lies, although we describe whole of a most process naming of or the name of that mental act with a weight meaning which it is supremacy lies in his characterization.] It is here, his mode of dealing with human character, Shakspeare's supremacy confessedly lies; and the conclusions which we have reached as the great poetry, allow us easily to perceive how excellence this department justifies the decision, which places at the summit of poetical art poet is pre-eminently by it. [Sidenote: is his
, that Miranda had not made inexPerience beAutifUl
bY thE sPell Of inNocence and youtH, That The hideous slave Caliban Had
neVeR ScowLEd And cuRsed, nor aRiEL AliGhTeD on ThE WoRld liKe a
ShootinG-star,--we couLd dIsMiss alike froM OuR memories tHe mOon-light
foreSt iN which ThE FaIRy CouRt rEvel, aNd the lURid and Spectre-peOpLEd
ghasTLiness oF THe Cave Of Hecate,--we could in FAnCY remove from the
GallerY oF ThE POet'S arT the picturE wHich eXHibits tHE tWO
SElf-DEstroyed loverS lying side bY SidE in the ToMb oF The
CapUlets,--AnD We cOuld discard From Our minds, aNd hold AS never hAVing
beeN invenTed By tHe poET, aLl WhiCh WE fiND iN hiS WorKs possesSiNg A
charActeR SIMIlar To tHese SceneS and figures;--anD yeT we sHOulD leavE
behiNd thAt Which Would sUpporT SHakspeare as haviNg puRsued the hIghEsT
enDs Of his ARt, and aS haVinG attainEd those ENds MoRE FUlLy than any
other who eVeR FOlLowed theM: RichaRD wOuLD still be HiS; MaCbetH WOuld
tHink ANd Tremble, aNd Lear WEeP aNd be mad; AnD HamleT wOulD stIll poRE
oveR the riDdle of liFe, and FInd in death the sOLution of its mySTeRY.
[siDEnotE: ThEse show his IMagiNAtioN, the FOrCe wITh whiCh he tHrOWs
HImself into their charAcTers.] If It is tO such characteRs as these
lAST That we reFer wHEn WE speak of the poeT's powEr of
imaginA[94:1]Tion, and iF we wiSh to desiGnate by thE WOrd the foRce
WitH whIch HE ThRows himself inTO The cOnCeption Of tHose chaRacTerS,
thEn wE aPprehend tRuly what ThE sPhErE is In whiCH his greaTnEss LiEs,
aLthouGH we eitHer deScriBe ThE WhoLe of a moST cOMPlicAtEd MentAl
pRoCess bY namINg a Single sTep of it, or LoaD The nAmE oF that onE
mental act witH a Weight of meAnIng Which iT IS unfit to Bear.

[Sidenote: Shakspere's sUPremacy LieS in hiS chaRacterizaTioN.]

It is hEre, IN his moDe of deAling WiTh hUMAn chaRACtEr, tHaT
ShakspearE'S SupRemacY cOnfeSsedly lIes; and the conclusioNS whIch we
have reacHed As to THE gReaT PuRPosE oF PoeTRY, allow us easily tO
perceive hOw EXcEllence in tHIs dEpArtment JustifiEs the UNiversaL
decision, Which placEs At thE SUmmIt of poeticAl art the Poet who is
PRe-emiNEnTly diStiNguishEd By iT. [SideNote: WhY Is hIs
, that Miranda had not mad e inexperi encebea uti fu l
by  the  spell of inno c ence  and youth, that the h ideou ss lave Ca liban  had
ne v er s cow le dand  c u rs ed, n orAriel a lighted on  th eworld like a sh ooting-sta r,- -we could di smi ss ali ke  fr o m our  me morie s them oon-li ght
fores ti n whic h  the Fa i r yCour t revel, and thel ur i d and spectre- people dg ha s t lin ess  of the ca ve  of H e cate,-- w ec o u ldi n fancy remov e from theg all ery of  t hep oet'sart t he pic ture whichexhi bits thetwo
se l f-destr o yed lov ers ly ing  si de b y  s id e i nt het om b o f  th e
Capule ts ,- -andwe c o u l d  dis car d fr om ou r minds, andhol d as nev er ha vingbeen  i nvent ed bythe p oe t, all which we  fin d in hiswor ks  po ss essin g  a
cha rac ter  simila r to th e sesc e n e sand figures;--andye t we  shouldleaveb eh in d  that wh ic h w ould s uppor t Sh a ks peare as  havin g  p ur sued th ehighes tend s o f his art,  and a s having  atta i ned those ends more fully th a na n yo ther  wh o ever foll owed them : Ri c ha rdw ouldstill  b e  h i s; Macbeth would
th in k andtremb le, and Learweep and b e m ad; andHaml e tw ould still por e
ove r the ridd l e of lif e, an d find i n death t h e  solutio n o f i tsmys t e ry .
[Sidenote:T h esesh ow hisIma ginatio n,the  fo rce  w ith which  he thro ws 
h im se lfintot heir cha ra cte rs .]If it is tosuchchar ac te r s a s these la s t  tha twe  ref erwh en we  spe a k o f the p oet's pow ero f
im ag in a[94:1] tion, and ifwe  wish to d es ign ate by t he wordthe force
with which he throwshim selfinto  the conc ept ion of  th o se cha racter s,
th en  we a ppreh e n dtru ly  what thes p her e isin  whi ch hisgreatness lies,
al t hou gh we eitherdes crib e th e w h ol e  of  a mos t complicated men tal
proces sb ynaming a s i ngl estep of  it, or  load the nam e of that  one
ment al  act w ith  a weightof meani ng whichi t isu nf it to  be ar.

[ Si den ote:Shaksp e re' s sup remacy  l ies in  hisch aracteri zation.]

It is here, i n hismodeofdealing w ith hum an charac ter,  that
Shak spe are 's su pre m acy c onfe s se dly lies;  and the concl u si ons w hi ch we
haver e a che d astot he gre at p urpose of poetry, allow us easil y to p erc eiv e  how  e xcellence in t his  d e p artmentju stifies the  univers al decis ion, w hich p laces a t th e  summi t of  po etical ar t t he poet wh ois pre-em inen tl y dist inguis h ed b y it. [Sidenote: W hy is h is
, that_Miranda had_not made inexperience beautiful
by_the spell_of_innocence and_youth,_that the hideous_slave Caliban had
never_scowled and cursed, nor_Ariel alighted on_the_world like a
shooting-star,--we could dismiss alike from our memories the moon-light
forest in which the_Fairy_Court revel,_and_the_lurid and spectre-peopled
ghastliness of the_cave of Hecate,--we could in_fancy remove_from the
gallery of the poet's art the picture_which_exhibits the two
self-destroyed_lovers lying side by side in the tomb of_the
Capulets,--and we could discard from our_minds, and hold_as_never_having
been invented by the_poet, all which we find in_his works possessing a
character similar to_these scenes and figures;--and yet we should_leave
behind that which would support Shakspeare_as having pursued the highest
ends_of his_art, and as having attained_those ends more_fully than_any
other who ever_followed them: Richard would still be_his; Macbeth would
think_and tremble, and Lear weep and_be_mad; and Hamlet_would_still_pore
over the_riddle of life,_and_find in_death_the solution of its mystery.
[Sidenote: These_show_his Imagination, the force with which he_throws
himself into their characters.]_If_it is to such_characters as these
last that we_refer when we speak of the_poet's power_of
imagina[94:1]tion, and_if we wish to designate by the word the force
with which_he throws himself into the conception_of those characters,
then we_apprehend truly_what_the sphere is_in_which his_greatness lies,
although we either describe the whole_of a_most complicated mental
process by naming a_single step of it,_or_load the name of that one
mental_act with a weight of meaning_which it is unfit to_bear.

[Sidenote:_Shakspere's_supremacy lies in his characterization.]

It_is here, in his mode of_dealing with human_character, that
Shakspeare's supremacy confessedly lies; and the_conclusions_which we
have reached as to the_great_purpose of poetry, allow us easily_to
perceive_how_excellence in this department justifies_the universal
decision, which places at the_summit of poetical art the poet who is
pre-eminently distinguished_by it. [Sidenote:_Why is his