and that Shakspeare may be more excused, Rapin confesses that the French tragedies now all run on the tendre; and gives the reason, because love is the passion which most predominates in our souls, and that therefore the passions represented become insipid, unless they are conformable to the thoughts of the audience. But it is to be concluded, that this passion works not now amongst the French so strongly as the other two did amongst the ancients. Amongst us, who have a stronger genius for writing, the operations from the writing are much stronger; for the raising of Shakspeare's passions is more from the excellency of the words and thoughts, than the justness of the occasion; and, if he has been able to pick single occasions, he has never founded the whole reasonably: yet, by the genius of poetry in writing, he has succeeded.
Rapin attributes more to the dictio, that is, to the words and discourse of a tragedy, than Aristotle has done, who places them in the last rank of beauties; perhaps, only last in order, because they
