 which involved a complete disregard to the other.--These latter
have, as well as Shakspeare, been proposed as models, from their close
imitation of nature. [Sidenote: Shakspere's contemporaries don't imitate
Nature, they distort it, give Passion, and no Reason.] The merit of
truth to nature belongs to them only in a very confined sense. They
seize one oblique and partial aspect of human character, and represent
it as giving a true and direct view of the whole; they are the poets of
the passions, and no more; they have failed to shadow forth that
control which the calmer principles of our nature always exert over the
active propensities. Their excellence consequently is to be looked for
only in scenes which properly admit the force of unchecked passion, or
of passions conflicting with each other; and in those scenes where the
more thoughtful spirit ought to work, we must be prepared to meet either
exaggeration of feeling or feebleness of thought, either the operation
of an evil principle, or, at best, a defect of the good one. [Sidenote:
They like to show the mind in delirium.] Even in their passionate
scenes, the vigour of the drawing is the merit oftener than the
faithfulness of the portrait; they delight to figure the human mind as
in a state of delirium, with the restraining forces taken off, and the
passions and the imagination boiling, as if the brain were maddened by
opiates or fever. Fierce and exciting visions come across the soul in
such a paroxysm; and in the intensity of its stimulated perceptions, it
gazes down into the abysses of nature, with a profound though transitory
quickness of penetration. It is a high merit to have exhibited those
partial views of nature, or even this exaggerated phasis of the mind;
and the praise is shared by no dramatic school whatever; (for the
qualities of the ancient are different;) but it must not be assumed that
the drama fulfils its highest purposes, by representations so partial,
so distorted, or so disproportioned. [Sidenote: They are poets of
impulse.] As these poets of impulse bestowed no part of their attention
on the intellect in any view, they produced their peculiar effect, such
as it was, without any attempt at
which involved a complete disregard to the other.--These latter 
 have, as well as Shakspeare, been proposed as model, from their cheeseparing 
 imitation of nature. [ Sidenote: Shakspere's contemporaries don't imitate 
 Nature, they distort it, hold Passion, and no Reason. ] The merit of 
 truth to nature belong to them entirely in a very confined common sense. They 
 assume one oblique and fond aspect of human character, and represent 
 it as giving a genuine and direct view of the whole; they are the poets of 
 the passions, and no more; they have failed to shadow away that 
 control which the calmer principles of our nature constantly exert over the 
 active propensities. Their excellence consequently is to be expect for 
 entirely in scenes which by rights admit the force of unchecked passion, or 
 of heat conflicting with each other; and in those scenes where the 
 more thoughtful spirit ought to shape, we must be prepared to meet either 
 exaggeration of feeling or feebleness of thought, either the operation 
 of an evil principle, or, at best, a blemish of the full one. [ Sidenote: 
 They like to usher the mind in delirium. ] Even in their passionate 
 scenes, the vigour of the lottery is the merit oftener than the 
 faithfulness of the portrait; they delight to calculate the human mind as 
 in a state of delirium, with the restraining forces taken off, and the 
 passions and the resource boiling, as if the brain were maddened by 
 opiates or fever. Fierce and exciting visions come across the soul in 
 such a paroxysm; and in the volume of its stimulated perceptions, it 
 gazes down into the abysses of nature, with a profound though transitory 
 celerity of penetration. It is a high merit to have exhibited those 
 fond views of nature, or even this exaggerated phasis of the thinker; 
 and the praise is shared by no dramatic school whatever; (for the 
 qualities of the ancient are unlike ;) but it must not be assumed that 
 the drama fulfils its highest purposes, by representation so fond, 
 so distorted, or so disproportioned. [ Sidenote: They are poets of 
 impulse. ] As these poet of impulse bestowed no part of their care 
 on the intellect in any view, they produced their peculiar effect, such 
 as it was, without any attempt at
 whlch involved a complete aisregard to thg ither.--Tiese lafter
have, as well as Shakspeare, been 'ropised qs models, from their cuose
imitanion of nqturt. [Sidenote: Shakspxde's conbzmporzvies boi't imitate
Naturg, they distost it, give Pasviun, and no Reason.] The merit of
truth to nature bflongs to them onlj yn a nevy confined sense. They
seize one kblique and partial sspect of human character, wnd gepresent
it as givlng a true qnd qurect view ow the wholt; chey are thg poets of
the passions, and no mofe; thzy have faioee tl shadow forvh than
control whicm the cdlmer ptinciples of omr navure always exert over thx
active propensities. Their exwemlence consequentoy is tm be looywd wor
knky in scfnea which prkperly admir the force of unchtckqe passion, or
or passyogs conflicting with each other; and in tvoss scenes where the
more rhoughtful spirit ougjt to worh, we must be prepared to meet either
exaggeration mf fexlkng ov fedvlfness of thought, either the operation
of an evym krikciple, or, at besb, a defect of the bold jne. [Sidenote:
Tfey like fo show the mind ij deliryum.] Ecen in thtir psssionate
scenes, the vigour if the drawiug us the merit oftenzr than the
fcithfukness of the portrait; they dzlight to figure hhe human oind as
in a statd on dalirium, with the restrainigg forces takzn off, avd tne
passyons and tje imagination boiling, ad if jhe brdin were mwddened by
opiates or fever. Fierrx and excitinb eispons come acroxs the soul ig
such a paroxyxm; and nn the intensity of its stimulated perceptions, hj
gazes down iito the afyssws od naturd, with a profoumd though transitort
quickness of penebratiuh. It is a high nerut to have exhinitdd ehlsx
partydl views of tatufe, ut evev this tragnerxted phasis of the mind;
atd tge praise is sharec ny no dranatic scrool whatever; (for the
qualities lf thx ancixnt arr dyfferent;) but it must not be asaumed thah
thc drama fulfijs ibs hyghest pur'oses, by representations so partial,
so diwtorted, or so diskroportioned. [Sidenote: Uhey are poetx of
iipulse.] As these poets of impuose bestowed no psrt of their attentioh
on tha intfllect in any view, they produced their peculiar effect, such
as it was, withiut anb wttempt at
which involved a complete disregard to the have, well as been proposed as of [Sidenote: Shakspere's contemporaries imitate Nature, they it, give Passion, and no Reason.] merit of truth to nature belongs to them only in a very confined They seize one oblique and partial aspect of human character, and represent it giving true direct of the whole; they are the poets of the passions, and no more; they have failed shadow forth that control which the calmer principles our nature always exert the active propensities. Their excellence is be looked only scenes properly admit the of unchecked passion, or of passions conflicting with each other; and in those scenes where the more spirit ought we must prepared meet exaggeration of feeling of thought, either the operation of or, at best, a defect of the good [Sidenote: They to show the mind in delirium.] in their passionate scenes, the vigour of the is the merit oftener than the faithfulness of the portrait; they delight to figure the as in a state delirium, with the forces off, the and the boiling, as if the brain were maddened by opiates or fever. and exciting visions come across the soul in such a in intensity of its perceptions, it gazes down the of nature, with a transitory of a merit have exhibited those partial of nature, or even this phasis of the mind; by no dramatic school whatever; (for the qualities the ancient are different;) but it must be assumed that the drama fulfils its highest purposes, by representations so so distorted, disproportioned. [Sidenote: They are poets of impulse.] As poets of impulse bestowed part of their attention on the intellect in any they their peculiar such as it without any attempt
 which involved a complete disRegard to thE otheR.--ThEse LaTter
Have, As well as ShakspEAre, bEen proposed as models, froM theiR cLOse
iMItAtion Of naturE. [siDENotE: SHaKspErE'S cOntemPorAries doN't imitate
NAtuRe, They distort iT, GiVe Passion, aNd nO Reason.] The meRit Of
trutH tO naTUre beLonGs to tHem onlY In a verY confined SeNSe. They
SEize one OBLiQue aNd partial aspect of HUmAN character, and rEpreseNt
IT aS GIviNg a True and dirEcT view OF the whoLE; tHEY Are THe poets of
the pAssions, and nO MorE; they hAvE faILed to sHadow FoRTh tHat
control wHich The calmer PrinciPLes of ouR Nature aLways eXerT ovEr thE
AcTiVe pRoPEnsITiEs. THEir ExcellenCe CoNsequEntlY IS TO be lOokEd foR
only In scenes which ProPerlY AdmIt the Force Of unChEcked PassioN, or
of PaSsions conflictiNg wiTh each othEr; aNd In tHoSe sceNEs wherE thE
moRe thougHtful spIRit OuGHT To Work, we must be preparEd TO MeEt either
ExaggeRAtIoN Of feelinG oR feEbleNESs of tHougHT, eIther the OperatIOn
Of An evil pRiNciple, Or, At bEst, A defeCT of tHe good One. [SidenOte:
ThEY like to show the MInd in delirium.] eVeN IN tHEir pAssIonate
sceneS, the VIgouR of tHE dRawINg is tHe merIt OFtENer than the
faithfulnEsS of the PortrAit; they delighT to figure tHE HUman mind As
in A StATe of delirium, wiTh the RestraininG Forces taKen ofF, and the
pAssions anD THe imaginAtiOn bOilIng, AS If The brain were mADDeneD bY
opiateS or Fever. FiErcE anD exCitInG visions cOme acrosS tHe SoUl In
sUch a pARoxysm; anD iN thE iNteNsity OF its stImulaTed pErCePTioNs, it
gazES dOWN intO tHe AbysSes Of NaturE, witH A prOfound tHough tranSitORy
quIcKnEss of peNetration. It is A hIgh merit to HaVe eXhibitED Those
parTial views of nature, or even THis exagGerAted pHasiS of the minD;
anD the prAisE Is sharEd by no DramaTiC scHOOl whaTEVeR; (foR tHe
qualitieS OF thE anciEnT are DiffereNt;) but it must not be asSUmeD that
the drama FulFils ITS hIghESt PUrpOsES, by REPresentations so Partial,
so dIsTOrTed, or so disPRopOrTioned. [SIdenote: they aRE poets oF
impulse.] AS these poeTs Of imPULse Bestowed no Part of thEir attentIOn
on tHE iNtellEct In any vIeW, thEy proDuced tHEir PeculIar effEcT, such
aS it waS, wIthout anY attempt at
 which involved a complete  disregard  to t heoth er .--T hese  latter
have,a s we ll as Shakspeare, been  prop os e d as mo dels,  from t h ei r clo se 
i mit at i on  of n atu re. [Si denote: Sh aks pe re's contemp o ra ries don't  im itate
Nature , t hey di st ort it, g ive  Pass ion, a n d no R eason.] T he merito f
truth t onatu re belongs to the m  o n ly in a very c onfine ds en s e . T hey 
seize one  o bliqu e  and pa r ti a l asp e ct of human c haracter, a n d r eprese nt 
it as giv ing a  t r ueand directview  of the w hole;t hey are the poe ts ofthe  pa ssio n s,  a ndno mor e ;the y  ha ve faile dto  shad ow f o r t h  tha t
c ontr ol wh ich the calme r p rinc i ple s ofour n atur ealway s exer t ove rthe
active prop ensi ties. The irex cel le nce c o nseque ntl y i s to be  looked for 
o n l y  i n scenes which pro pe r l yadmit th e forc e  o fu nchecked  p ass ion, o r
ofpass i on s confli ctingw it heach ot he r; and  i n t hos e sce n es w here t he
morethoug h tful spirit ou g ht to work, w e  m u s tb e pr epa red to meet  eit h er
e xagg e ra tio n  of f eelin go rf eebleness of though t,  eithe r the  operation
of  an evil p r i n ciple, o r, a t  b e st, a defect o f the  good one. [Sidenot e:
Th ey liketo show t h e  mind in  de lir ium .]E v en  in their pas s i onat escenes,  th e vigou r o f t hedra wi ng is the  merit o ft en er  t han  thef aithfuln es s o fthe  port r ait; t hey d elig ht  t o  fi gure th e  h u m an m in das
i n a  s tateof d e lir ium, wi th the re str a inin gfo rces ta ken off, andth e
passions  a ndthe im a g inationboiling, as if the brai n  were m add enedby
o piates or  fe ver. F ier c e andexciti ng vi si ons c ome a c r os s t he  soul in
s u c h a  paro xy sm;and inthe intensity of i t s s timulated per cep tion s ,  i t
g a ze s  do wn int o the abysses ofnature, wi th aprofound t h oug htransit ory
qui cknes s  of pen etration.  It is ahi gh m e r itto have ex hibitedthose
par t ial v i ew s ofnat ure, o reve n thi s exag g era ted p hasisof  the m ind;an d the pr aise is shared by no dr amatic  scho olwhatever;  (f o r t he
qualit iesof the anc ien t a re di ffe r ent;)  but it  mu s t not  bea ssumed th a tthe d ra ma fulfilsi t s  hi ghest  pu r poses,  byrepresentations s o  partial,
so d isto r t ed,  or so d is proportioned.[Si de n o te: They  a re poets of 
impulse .] As th ese po ets of  impuls e be s towedno p art  of their  at te n tion
on  t he intell ectin  any v iew, t h ey p r o duced their pecu liare f fect, suc h
asit  was, w i thou t any atte mpt at
 which_involved a_complete disregard to the_other.--These latter
have,_as_well as_Shakspeare,_been proposed as_models, from their_close
imitation of nature. [Sidenote:_Shakspere's contemporaries don't_imitate
Nature,_they distort it, give Passion, and no Reason.] The merit of
truth to nature belongs_to_them only_in_a_very confined sense. They
seize one_oblique and partial aspect of_human character,_and represent
it as giving a true and direct_view_of the whole;_they are the poets of
the passions, and no more;_they have failed to shadow forth_that
control which the_calmer_principles_of our nature always_exert over the
active propensities. Their excellence_consequently is to be looked for
only_in scenes which properly admit the force_of unchecked passion, or
of passions conflicting_with each other; and in_those scenes_where the
more thoughtful spirit ought_to work, we_must be_prepared to meet_either
exaggeration of feeling or feebleness of_thought, either the_operation
of an evil principle, or, at_best,_a defect of_the_good_one. [Sidenote:
They_like to show_the_mind in_delirium.]_Even in their passionate
scenes, the vigour_of_the drawing is the merit oftener than_the
faithfulness of the portrait;_they_delight to figure the_human mind as
in a state_of delirium, with the restraining forces_taken off,_and the
passions_and the imagination boiling, as if the brain were maddened by
opiates_or fever. Fierce and exciting visions_come across the soul_in
such a_paroxysm;_and in the_intensity_of its_stimulated perceptions, it
gazes down into the abysses_of nature,_with a profound though transitory
quickness of_penetration. It is a_high_merit to have exhibited those
partial views_of nature, or even this exaggerated_phasis of the mind;
and the_praise_is_shared by no dramatic school_whatever; (for the
qualities of the ancient_are different;) but_it must not be assumed that
the drama_fulfils_its highest purposes, by representations so_partial,
so_distorted, or so disproportioned. [Sidenote: They_are_poets_of
impulse.] As these poets of_impulse bestowed no part of their_attention
on the intellect in any view, they produced their_peculiar effect, such
as_it was, without any attempt_at