I love to rove o’er history’s page, Recall the hero and the sage; Revive the actions of the dead, And memory of ages fled: Yet it yields me greater pleasure To read the poet’s pleasing measure. Led by Shakespeare, bard inspired, The bosom’s energies are fired; We learn to shed the generous tear O’er poor Ophelia’s sacred bier; To love the merry moonlit scene, With fairy elves in valleys green; Or borne on fancy’s heavenly wings, To listen while sweet Ariel sings. How sweet the native wood notes wild Of him, the Muse’s favourite child! Of him whose magic lays impart Each various feeling to the heart. _Poems._ By Felicia Dorothea Browne, 1808, p. 48. One of Mrs. Hemans’ earliest tastes—relates her sister in her _Memoirs_—was a passion for Shakespeare, which she read as her choicest recreation at six years old. The above lines were written when she was eleven years of age. SIR WALTER SCOTT, 1814 (1771-1832) The English stage might be considered as equally without rule and without model when Shakespeare arose. The effect of the genius of an individual upon the taste of a nation is mighty; but that genius, in its turn, is formed according to the opinions prevalent at the period when it comes into existence. Such was the case with Shakespeare. With an education more extensive, and a taste refined by the classical models, it is probable that he also, in admiration of the ancient drama, might have mistaken the form for the essence, and subscribed to those rules which had produced such masterpieces of art. Fortunately for the full exertion of a genius as comprehensive and versatile, as intense and powerful, Shakespeare had no access to any models of which the commanding merit might have controlled and limited his own exertions. He followed the path which a nameless crowd of obscure writers had trodden before him; but he moved in it with the grace and majestic step of a being of a superior order, and vindicated for ever the British theatre from a pedantic restriction to classical rule. Nothing went before Shakespeare which in any respect was fit to fix and stamp the character of a national drama; and certainly no one will succeed him, capable of establishing by mere authority, a form more restricted than that which Shakespeare used. Article on “Drama,” _Encyclopædia Britannica_. 4th ed. 1814. 6th ed. vol. viii. p. 157. SAMUEL TAYLOR COLERIDGE, 1817 (1772-1834)