We may reasonably suppose, that, when he rose to notice, he did not want the counsels and admonitions of scholars and criticks, and that he at last deliberately persisted in a practice, which he might have begun by chance.

As nothing is essential to the fable, but unity of action, and as the unities of time and place arise evidently from false assumptions, and, by circumscribing the extent of the drama, lessen its variety, I cannot think it much to be lamented, that they were not known by him, or not observed: Nor, if such another poet could arise, should I very vehemently reproach him, that his first act passed at _Venice_, and his next in _Cyprus_.

Such violations of rules merely positive, become the comprehensive genius of _Shakespeare_, and such censures are suitable to the minute and slender criticism of _Voltaire_: Non usque adeo permiscuit imis Longus summa dies, ut non, si voce Metelli Serventur leges, malint a Caesare tolli.
Yet when I speak thus slightly of dramatick rules, I cannot but recollect how much wit and learning may be produced against me; before such authorities I am afraid to stand, not that I think the present question one of those that are to be decided by mere authority, but because it is to be suspected, that these precepts have not been so easily received but for better reasons than I have yet been able to find.

The result of my enquiries, in which it would be ludicrous to boast of impartiality, is, that the unities of time and place are not essential to a just drama, that though they may sometimes conduce to pleasure, they are always to be sacrificed to the nobler beauties of variety and instruction; and that a play, written with nice observation of critical rules, is to be contemplated as an elaborate curiosity, as the product of superfluous and ostentatious art, by which is shewn, rather what is possible, than what is necessary.
He that, without diminution of any other excellence, shall preserve all the unities unbroken, deserves the like applause with the architect, who shall display all the orders of architecture in a citadel; without any deduction from its strength; but the principal beauty of a citadel is to exclude the enemy; and the greatest graces of a play, are to copy nature and instruct life.
Perhaps what I have here not dogmatically but deliberatively written, may recal the principles of the drama to a new examination.

I am almost frighted at my own temerity; and when I estimate the fame and the strength of those that maintain the contrary opinion, am ready to sink down in reverential silence; as _AEneas_ withdrew from the defence of _Troy_, when he saw _Neptune_ shaking the wall, and _Juno_ heading the besiegers.
Those whom my arguments cannot persuade to give their approbation to the judgment of _Shakespeare_, will easily, if they consider the condition of his life, make some allowance for his ignorance.
Every man's performances, to be rightly estimated, must be compared with the state of the age in which he lived, and with his own particular opportunities; and though to the reader a book be not worse or better for the circumstances of the authour, yet as there is always a silent reference of human works to human abilities, and as the enquiry, how far man may extend his designs, or how high he may rate his native force, is of far greater dignity than in what rank we shall place any particular performance, curiosity is always busy to discover the instruments, as well as to survey the workmanship, to know how much is to be ascribed to original powers, and how much to casual and adventitious help.