I have still a few observations to make on the diction and versification of our poet. The language is here and there somewhat obsolete, but on the whole much less so than in most of the contemporary writers--a sufficient proof of the goodness of his choice. Prose had as yet been but little cultivated, as the learned generally wrote in Latin--a favorable circumstance for the dramatic poet; for what has he to do with the scientific language of books? He had not only read, but studied, the earlier English poets; but he drew his language immediately from life itself, and he possessed a masterly skill in blending the dialogical element with the highest poetical elevation. I know not what certain critics mean, when they say that Shakespeare is frequently ungrammatical. To make good their assertion, they must prove that similar constructions never occur in his contemporaries, the direct contrary of which can, however, be easily shown. In no language is everything determined on principle; much is always left to the caprice of custom, and if this has since changed, is the poet to be made answerable for it? The English language had not then attained to that correct insipidity which has been introduced into the more recent literature of the country, to the prejudice, perhaps, of its originality. As a field when first brought under the plough produces, along with the fruitful shoots, many luxuriant weeds, so the poetical diction of the day ran occasionally into extravagance, but an extravagance originating in the exuberance of its vigor. We may still perceive traces of awkwardness, but nowhere of a labored and spiritless display of art. In general, Shakespeare's style yet remains the very best model, both in the vigorous and sublime, and the pleasing and tender. In his sphere he has exhausted all the means and appliances of language. On all he has impressed the stamp of his mighty spirit. His images and figures, in their unsought, nay, uncapricious singularity, have often a sweetness altogether peculiar. He becomes occasionally obscure from too great fondness for compressed brevity; but still, the labor of poring over Shakespeare's lines will invariably meet an ample requital.