Our author’s plots are generally borrowed from novels; and it is reasonable to suppose that he chose the most popular, such as were read by many, and related by more; for his audience could not have followed him through the intricacies of the drama, had they not held the thread of the story in their hands. The stories which we now find only in remoter authors, were in his time accessible and familiar. The fable of _As you like it_, which is supposed to be copied from Chaucer’s _Gamelyn_, was a little pamphlet of those times; and old Mr. Cibber remembered the tale of _Hamlet_ in plain English prose, which the criticks have now to seek in _Saxo Grammaticus_. His English histories he took from English chronicles and English ballads; and as the ancient writers were made known to his countrymen by versions, they supplied him with new subjects; he dilated some of Plutarch’s lives into plays, when they had been translated by North. His plots, whether historical or fabulous, are always crouded with incidents, by which the attention of a rude people was more easily caught than by sentiment or argumentation; and such is the power of the marvellous, even over those who despise it, that every man finds his mind more strongly seized by the tragedies of Shakespeare than of any other writer; others please us by particular speeches, but he always makes us anxious for the event, and has perhaps excelled all but Homer in securing the first purpose of a writer, by exciting restless and unquenchable curiosity, and compelling him that reads his work to read it through. The shows and bustle with which his plays abound have the same original. As knowledge advances, pleasure passes from the eye to the ear, but returns, as it declines, from the ear to the eye. Those to whom our author’s labours were exhibited had more skill in pomps or processions than in poetical language, and perhaps wanted some visible and discriminated events, as comments on the dialogue. He knew how he should most please; and whether his practice is more agreeable to nature, or whether his example has prejudiced the nation, we still find that on our stage something must be done as well as said, and inactive declamation is very coldly heard, however musical or elegant, passionate or sublime.