some hidden Power. Thus have our "rough-hewnends" been aptly and wonderfully "shapen" by a Power above ourselves; thus have our minds been led on step by step in an unknown path; and, sustained and guided by an invisible Hand, we have been brought happily to our journey's end.
This, we believe, is the history of all compositions—specially of all lofty compositions, and of the high works of genius. And the higher the genius, the more entirely is it subject to this overruling influence: it is this, which constitutes the "inspiration," the Divine afflatus, as it is not improperly termed, of the poet. Take, for example's sake, the particular instance before named: observe Shakspeare engaged in the composition of his "Hamlet." He has written on, through the first scene, to the point where the Ghost of Hamlet's father, having appeared to Horatio and his friend Marcellus, suddenly, at the cock-crowing, glides away, Marcellus in vain seeking to stay it by striking at it with his weapon.
"Marcellus. Tis gone!
We do it wrong, being so majestical,
To offer it the show of violence;
For it is, as the air, invulnerable,
And our vain blows malicious mockery.
Bernardo. It was about to speak, when the cock crew.
Horatio. And then it started, like a guily thing
Upon a fearful summons. I have heard,
The cock, that is the trumpet to the morn,
Doth with his lofty and shrill sounding throat
Awake the god of day; and at his warning,
Whether in sea or fire, in earth or air,
The extravagant and erring spirit hies
To his confine: and of the truth herein
This present object made probation.
