Spots 
True poetic genius does not lack judgment; rather, genius and judgment are two aspects of the same creative power. Where mechanical form forces raw material into a predetermined mold, organic form develops from within like a growing plant, shaping its external appearance according to its own nature. Shakespeare never wrote without law, but created his own internal logic for every play.
Dramatic illusion depends on a willing suspension of disbelief, where the audience accepts stage reality through imaginative sympathy rather than sensory deception. Shakespeare creates characters like Hamlet, whose reflection overwhelms his capacity for action, and Iago, who exhibits motiveless malignity. Unlike static stage types, these figures possess an internal intellectual life that makes their actions flow from genuine human psychology.
Ben Jonson creates drama from the outside in, constructing scenes through rigorous intellect, erudition, and classified psychological humours. Where Shakespeare yields to the spontaneous flow of human nature, Jonson shapes characters around dominant behavioral traits and moral satire. His plays display extraordinary craft and intellectual polish, yet remain deliberate constructions rather than living, self-evolving organisms.
Beaumont and Fletcher excel in lyrical melody, clever theatrical pacing, and dramatic effect, yet lack deep moral coherence and unity of spirit. Their characters often adopt romantic sentiments and artificial passions tailored to courtly taste rather than enduring human truth. While their comedies display brilliant dialogue, their tragic plots rely on sudden shifts and external theatrical devices rather than organic psychological necessity.
Coleridge evaluates early modern drama through organic form, psychological insight, and character analysis.