Nature. Had Shakespeare simply written for what is called effect, it would have appeared to him, as it has to many, inconsistent that the supernatural appearance should so far fail as to cause, not only the death of several innocent people, but also that of Hamlet himself.

Let us cease to consider the Supernatural as being either the Suspension or the Contradiction of material, external Laws, but as the Manifestation, according to Law, of Spiritual, Internal Laws. We shall not then find ourselves exclaiming, "Why should the Divine permit his Laws to be suspended or contradicted for this or that insufficient end? and then, on the strength of our own assumptions, refusing to examine into facts, and often putting forth very unjust Criticisms upon the works of the greatest Artists, Men whom we ought, even for our own sakes, to be slow indeed in pronouncing to be wrong.

ANTIGONUS.-HOTSPUR.

IN a volume entitled "Philosophy of Shakespeare," by Mr. W. H. Rankin, in which passages from the Author are ranged under certain headings, with occasional remarks, Mr. R. thus expresses himself:

"Shakespeare's superiority to the superstitious times in which he lived, is absolutely amazing, especially when we consider that such a mind as Sir M. Hale's succumbed to them. Read the speech of Antigonus on Ghosts, the reasoning of Hotspur on Omens,

and then admire a Genius that was centuries in advance of his own age"

On the other hand, Mr. Birch, who wrote a book to show that Shakespeare was a Skeptic in Religion, and a

Materialist in Philosophy, adduces these very things in support of his point. In the meanwhile, both gentlemen utterly forget that Antigonus, who informs us that he is a skeptic, is shown in the Play to be quite wrong, at least for once. The dream, which had so much wrought upon him, as to make him say, after having pronounced "Dreams to be toys" that he will, nevertheless, be superstitiously squared by this, is fulfilled, and the just inference is, that the Skepticism belongs to Antigonus alone, the Belief to the writer of the work. Those who have really gone into the subject, know what powerful evidence there is for the fact of Prophetic Dreams, and are satisfied that Shakespeare knew it also. Those who think that Shakespeare would introduce a prophetic dream, without studying the subject of prophetic dreams, are requested to consider that a Painter who loves his Art, and seeks for lasting reputation, does not allow himself to introduce anything into his picture, even the meanest weed, without studying it.

The case with respect to Hotspur equally illustrates the strange forgetfulness of Mr. Rankin and Mr. Birch. In the fine Scene between Hotspur and Glendower there is a great deal of smart, cutting Skepticism evinced by the former. He is, however, checkt by Mortimer, who assures him that Glendower is "a worthy gentleman, exceedingly well read, and profited in strange concealments." And how does Shakespeare carry on the Scene? Why, by making Glendower give an auricular proof of his open communication with the Inner World. When Mortimer says that he will sit and hear his wife sing, Glendower replies—

"Do so;

And those Musicians that shall play to you

Hang in the air a thousand leagues from hence;
Yet straight they shall be here: sit, and attend."

He then speaks some Welsh words, and then the Music

plays. Does this produce any effect upon Hotspur's unbelief? Not in the least; and Shakespeare here gives absolute proof of his observation upon a certain species of Skepticism, which, instead of being at all moved to gravity or examination by some noteworthy fact, is only disposed to turn it into ridicule. Thus Hotspur, when he hears the Music, only says,

"Now 1 perceive the devil understands Welsh ;
Andús no marvel, he's so humourous.

By'r Lady, he's a good Musician."

Shakespeare has also kept to nature in not giving any remark upon Glendower's power to the other persons present, to whom, supposing that power to have been familiar, it had ceased to be marvellous. Had Shakespeare however been a skeptic, and yet so regardless of his own idea of truth as to have introduced the Spiritual Music, for the sake of something called effect, there could not have been this quietness of treatment; light jesting on the part of Hotspur, and absolute silence with the rest.

It may be added, that Mr. Charles Knight also, has evidently overlookt what Shakespeare has made Glendower do, and the unavoidable inference from it. Mr. Knight contrasts "the solemn credulity" of Glendower, with the "sarcastic unbelief" of Hotspur; but we have seen, that on Shakespeare's shewing, it should have been "solemn Belief," not Credulity, which is to be affirmed of Glendower; for, in this scene, he not only believes that he can, and says that he will, do a certain thing, that is, summon Musicians of the Inner World, but he actually does do it.

It, is, certainly, a striking proof of the effect which preconceived opinions have upon Criticism, that these points in a writer like Shakespeare, should remain totally unnoticed, nay, unseen. Every one will admit, that in order to be a Critic upon Shakespeare, human nature must be

studied by the Critic, otherwise he cannot appreciate the Author's treatment of it. It remains to be admitted, that the manifestations of the Inner World must also be studied by the Critics for the same reason.

TROILUS.-THESEUS.

In addition to the cases of Antigonus and Hotspur, those of Troilus and Theseus may be adduced, as fresh instances of the manner in which Shakespeare shows the Skeptic to be in error, by placing him in opposition to the facts of the Story. Thus Troilus treats his Brother Helenus, and his Sister Cassandra, very cavalierly, after the approved fashion of the Doubters.

"You are for Dreams and Slumbers, brother priest,"

he says to Helenus, and when Hector, upon the entrance of Cassandra, raving and prophesying, says :

66

'Now, youthful Troilus, do not these high strains,

Of Divination in our Sister, work

Some touches of remorse."

The reply shews Troilus as only seeing that "Cassandra's mad," "her Raptures brainsick," &c., yet "the high strains of Divination" really were within her.

Finally, in the "Midsummer Night's Dream," Theseus makes a celebrated speech, every line of which is skeptical, yet the conduct of the Play falsifies the Duke's reasonings, or rather his assertions. Hippolyta having observed to him,

""Tis strange, my Theseus, that these Lovers speak of;"

He thus replies, paying no attention, be it observed, to the fact that she is speaking from the testimony of four persons, a very artful stroke, on the part of the Author, at the Skeptics.

THESEUS." More strange than true. I never may believe
These antique fables, nor these fairy toys.
Lovers and madmen have such seething brains,

Such shaping fantasies, that apprehend

More than cool reason ever comprehends.

The lunatic, the Lover, and the Poet,

Are of imagination all compact;

One sees more devils than vast hell can hold

That is the Madman; the Lover, all as frantic,

Sees Helen's beauty in a brow of Egypt;

The Poet's eye, in a fine frenzy rolling,

Doth glance from heaven to earth, from earth to heaven,

And, as imagination bodies forth

The forms of things unknown, the Poet's pen
Turns them to shapes, and gives to airy nothing
A local habitation and a name.

Such tricks hath strong imagination,
That if it would but apprehend some joy,
It comprehends some bringer of that joy;
Or in the night, imagining some fear,
How easy is a bush supposed a bear ?"

To this speech Hippolyta very justly answers, that

"All the story of the night told over,

And all their minds transfigured so together

More witnesseth than fancy's images,

And grows to something of great constancy."

Here again Shakespeare shows his nice observation of the skeptical mind. Every one who has conversed on any subject, with persons predetermined, on that subject, not to