nd most universal poet the world has known.

Rowe observes, in regard to Shakspeare,--"Art had so little and
Nature so large a share in what he did, that, for aught I know, the
performances of his youth, as they were the most vigorous, and had the
most fire and strength of imagination in them, were the best. I
would not be thought by this to mean that his fancy was so loose and
extravagant as to be independent on the rule and government of judgment;
but that what he thought was commonly so great, so justly and rightly
conceived in itself, that it wanted little or no correction, and was
immediately approved by an impartial judgment at the first sight."

The last sentence is true; but Mr. Rowe really means to say that he was
as great an artist as natural poet,--that his _creative_ and _executive_
powers wrought in almost perfect spontaneity and harmony,--the work
of the _making_ part of him being generally at once approved by the
_shaping_ part, and each and both being admirable. When a man creates
an Othello, feigns his story and his passion, assumes to be him and to
observe him at the same time, figures him so exactly that all the
world may realize him also, brings in Desdemona and Iago and the rest,
everything kept in propriety and with the minutest perfection of detail,
which does most, Art or Nature? How shall we distinguish? Where does one
leave off and the other begin? The truth of the passion, that is Nature;
but can we not perceive that the Art goes along with it? Do we not at
once acknowledge the Art when we say, "How natural!"? In such as Iago,
for example, it would seem as if the least reflective spectator must
derive a little critical satisfaction,--if he can only bring himself to
fancy that Iago is not alive, but that the great master painted him and
wrote every word he utters. As we read his words, can we not see how
boldly he is drawn, and how highly colored? There he is, right in the
foreground, prominent, strong, a most miraculous villain. Did Nature put
the words into his mouth, or Art? The question involves a consideration
of how far natural it is for men to make Iagos, and to make them
speaking naturally. Though it be natural, it is not common; and if its
naturalness is what must be most insisted on, it may be conceded, and we
may say, with Polixenes, "The Art itself is Nature."

There is a strong rapture that always attends the full exercise of our
highest faculties. The whole spirit is raised and q