‘Shakespear’s comic talent is equally wonderful with that which he has shown in the pathetic and tragic: it stands on an equal elevation, and possesses equal extent and profundity. All that I before wished was, not to admit that the former preponderated. He is highly inventive in comic situations and motives. It will be hardly possible to show whence he has taken any of them; whereas, in the serious part of his drama, he has generally laid hold of something already known. His comic characters are equally true, various, and profound, with his serious. So little is he disposed to caricature, that we may rather say many of his traits are almost too nice and delicate for the stage, that they can only be properly seized by a great actor, and fully understood by a very acute audience. Not only has he delineated many kinds of folly; he has also contrived to exhibit mere stupidity in a most diverting and entertaining manner.’—Vol. ii. p. 145. We have the rather availed ourselves of this testimony of a foreign critic in behalf of Shakespear, because our own countryman, Dr. Johnson, has not been so favourable to him. It may be said of Shakespear, that ‘those who are not for him are against him’: for indifference is here the height of injustice. We may sometimes, in order ‘to do a great right, do a little wrong.’ An overstrained enthusiasm is more pardonable with respect to Shakespear than the want of it; for our admiration cannot easily surpass his genius. We have a high respect for Dr. Johnson’s character and understanding, mixed with something like personal attachment: but he was neither a poet nor a judge of poetry. He might in one sense be a judge of poetry as it falls within the limits and rules of prose, but not as it is poetry. Least of all was he qualified to be a judge of Shakespear, who ‘alone is high fantastical.’ Let those who have a prejudice against Johnson read Boswell’s Life of him; as those whom he has prejudiced against Shakespear should read his Irene. We do not say that a man to be a critic must necessarily be a poet: but to be a good critic, he ought not to be a bad poet. Such poetry as a man deliberately writes, such, and such only will he like. Dr. Johnson’s Preface to his edition of Shakespear looks like a laborious attempt to bury the characteristic merits of his author under a load of cumbrous phraseology, and to weigh his excellences and defects in equal scales, stuffed full of ‘swelling figures and sonorous epithets.’ Nor could it well be otherwise; Dr. Johnson’s general powers of reasoning overlaid his critical susceptibility. All his ideas were cast in a given mould, in a set form: they were made out by rule and system, by climax, inference, and antithesis:—Shakespear’s were the reverse. Johnson’s understanding dealt only in round numbers: the fractions were lost upon him. He reduced everything to the common standard of conventional propriety; and the most exquisite refinement or