“How can I keep him alive,” said Wilhelm, “when the whole play is pressing him to death? We have already talked at large on that matter.” “But the public wishes him to live.” “I will show the public any other complaisance; but, as to this, I cannot. We often wish that some gallant, useful man, who is dying of a chronic disease, might yet live longer. The family weep, and conjure the physician; but he cannot stay him: and no more than this physician can withstand the necessity of nature, can we give law to an acknowledged necessity of art. It is a false compliance with the multitude, to raise in them emotions which they _wish_, when these are not emotions which they _ought_, to feel.” “Whoever pays the cash,” said Serlo, “may require the ware according to his liking.” “Doubtless, in some degree,” replied our friend; “but a great public should be reverenced, not used as children are when peddlers wish to hook the money from them. By presenting excellence to the people, you should gradually excite in them a taste and feeling for the excellent; and they will pay their money with double satisfaction when reason itself has nothing to object against this outlay. The public you may flatter, as you do a well-beloved child, to better, to enlighten it; not as you do a pampered child of quality, to perpetuate the error you profit from.” In this manner various other topics were discussed relating to the question, What might still be changed in the play, and what must of necessity remain untouched? We shall not enter farther on those points at present; but, perhaps, at some future time we may submit this altered _Hamlet_ itself to such of our readers as feel any interest in the subject. SHAKESPEARE AD INFINITUM (1813-16) There has already been so much said about Shakespeare that it would seem as if there was nothing left to say; and yet it is the characteristic of genius ever to be stimulating other men’s genius. In the present case I wish to consider Shakespeare from more than one point of view,--first as a poet in general, then in comparison with the classic and modern writers, and finally as a writer of poetic drama. I shall attempt to work out what the imitation of his art has meant to us, and what it can mean in the future. I shall express my agreement with what has been written by reiterating it, and express my dissent briefly and positively, without involving myself in conflict and contradiction. I proceed to the first topic. _I. Shakespeare as Poet in General_