There is not much nearer approach to unity of action in the tragedy of _Antony and Cleopatra_, than in the history of _Richard the Second_.

But a history might be continued through many plays; as it had no plan, it had no limits.
Through all these denominations of the drama, _Shakespeare's_ mode of composition is the same; an interchange of seriousness and merriment, by which the mind is softened at one time, and exhilarated at another.
But whatever be his purpose, whether to gladden or depress, or to conduct the story, without vehemence or emotion, through tracts of easy and familiar dialogue, he never fails to attain his purpose; as he commands us, we laugh or mourn, or sit silent with quiet expectation, in tranquillity without indifference.
When _Shakespeare's_ plan is understood, most of the criticisms of _Rhymer_ and _Voltaire_ vanish away.

The play of _Hamlet_ is opened, without impropriety, by two sentinels; _Iago_ bellows at _Brabantio's_ window, without injury to the scheme of the play, though in terms which a modern audience would not easily endure; the character of _Polonius_ is seasonable and useful; and the Grave-diggers themselves may be heard with applause.
_Shakespeare_ engaged in dramatick poetry with the world open before him; the rules of the ancients were yet known to few; but publick judgment was unformed; he had no example of such fame as might force him upon imitation, nor criticks of such authority as might restrain his extravagance: He therefore indulged his natural disposition, and his disposition, as _Rhymer_ has remarked, led him to comedy.

In tragedy he often writes, with great appearance of toil and study, what is written at last with little felicity; but in his comick scenes, he seems to produce without labour what no labour can improve.

In tragedy he is always struggling after some occasion to be comick; but in comedy he seems to repose, or to luxuriate, as in a mode of thinking congenial to his nature.