Shakespear is also liable to the charge of obscurity. The most sagacious critics dispute to this very hour, whether Hamlet is or is not mad, and whether Falstaff is a brave man or a coward. This defect is perhaps partly to be imputed to the nature of dramatic writing. It is next to impossible to make words, put into the mouth of a character, develop all those things passing in his mind, which it may be desirable should be known. I spoke, a short time back, of the language of Shakespear in his finest passages, as of unrivalled excellence and beauty; I might almost have called it miraculous. O, si sic omnia! It is to be lamented that this felicity often deserts him. He is not seldom cramp, rigid and pedantic. What is best in him is eternal, of all ages and times; but what is worst, is crusted with an integument, almost more cumbrous than that of any other writer, his contemporary, the merits of whose works continue to invite us to their perusal. After Shakespear, it is scarcely worth while to bring forward any other example, of a writer who, notwithstanding his undoubted claims to excellencies of the highest order, yet in his productions fully displays the inequality and non-universality of his genius. One of the most remarkable instances may be alleged in Richardson, the author of Clarissa. In his delineation of female delicacy, of high-souled and generous sentiments, of the subtlest feelings and even mental aberrations of virtuous distress strained beyond the power of human endurance, nothing ever equalled this author. But he could not shape out the image of a perfect gentleman, or of that winning gaiety of soul, which may indeed be exemplified, but can never be defined, and never be resisted. His profligate is a man without taste; and his coquettes are insolent and profoundly revolting. He has no resemblance of the art, so conspicuous in Fletcher and Farquhar, of presenting to the reader or spectator an hilarity, bubbling and spreading forth from a perennial spring, which we love as surely as we feel, which communicates its own tone to the bystander, and makes our very hearts dance within us with a responsive sportiveness. We are astonished however that the formal pedant has acquitted himself of his uncongenial task with so great a display of intellectual wealth; and, though he has not presented to us the genuine picture of an intellectual profligate, or of that lovely gaiety of the female spirit which we have all of us seen, but which it is scarcely possible to fix and to copy, we almost admire the more the astonishing talent, that, having undertaken a task for which it was so eminently unfit, yet has been able to substitute for the substance so amazing a mockery, and has treated with so much copiousness and power what it was unfit ever to have attempted. ESSAY IV. OF THE DURABILITY OF HUMAN ACHIEVEMENTS AND PRODUCTIONS.