lengthy notice. For its refutation, it is unnecessary to appeal to the
great tragical compositions of the poet, which, for overpowering
effect, leave far behind them almost everything that the stage has
seen besides; a few of their less celebrated scenes would be quite
sufficient. What to many readers might lend an appearance of truth to
this assertion are the verbal witticisms, that playing upon words,
which Shakespeare not unfrequently introduces into serious and sublime
passages and even into those also of a peculiarly pathetic nature.

I have already stated the point of view in which we ought to consider
this sportive play upon words. I shall here, therefore, merely deliver
a few observations respecting the playing upon words in general, and
its poetical use. A thorough investigation would lead us too far from
our subject, and too deeply into considerations on the essence of
language, and its relation to poetry, or rhyme, etc.

There is in the human mind a desire that language should exhibit the
object which it denotes, sensibly, by its very sound, which may be
traced even as far back as in the first origin of poetry. As, in the
shape in which language comes down to us, this is seldom perceptibly
the case, an imagination which has been powerfully excited is fond of
laying hold of any congruity in sound which may accidentally offer
itself, that by such means he may, for the nonce, restore the lost
resemblance between the word and the thing. For example, how common
was it and is it to seek in the name of a person, however arbitrarily
bestowed, a reference to his qualities and fortunes--to convert it
purposely into a significant name. Those who cry out against the play
upon words as an unnatural and affected invention, only betray their
own ignorance of original nature. A great fondness for it is always
evinced among children, as well as with nations of simple manners,