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Hermia had used no arts, no coquetry, to allure her lover from her ; for, as she expresses it, just after, in the same dialogue, .. . His folly, Helena, is no fault of minc. She had, indeed, happened to have done her an injury, but no wrong ; and therefore the forsaken maid fhews her justice in plaining her own ill fortune, only, without expressing the least manner of resentment against her unoffending rival.
Hermia, in the same scene, alludes to the magic power of love, which concenters all our ideas in one, making us prefer a cottage to a palace, and a desert to a grove, according to the situation or circumstances of the object of our affections. After having declared the purpose of Aying her country with her lover, she adds,
Before the time I did Lysander fee,
That he hach turned a heaven into hell ? And Helena, afterwards, carries on the same idea, Split in the following lines :
Things base and vile, holding no quantity,
Theseus too, in a passage of his speech, in the first Scene of the Fifth Act of this Play, accords with the above sentiinent :
While the lover all as frantic
Sees Helen's beauty in a brow of Egypt. And Shakespeare has hinted a moral, on this latter subject, with regard to irregular or ill-placed affection, as Dr. Warburton has justly observed, “ byly the « as fine a metamorphosis as any in Ovid,” in the last line of the following speech, in the second Scene of
aia had ufed no arts, no coquetry, to allur er from her : for, as the expresses it, je the same dialogue,
His folly, Helena, is no fault of mine. 1, indeed, happened to have done her 2 |
ne her ut no wrong; and therefore the forsaken ma. er justice in plaining her own ill fortus Ethout expressing the least manner of rele: ainst her unoffending rival.
ia, in the same scene, alludes to the mag: f love, which concenters all our ideas in ox.
us prefer a cottage to a palace, and a dek ove, according to the situation or circumof the object of our affections. After hava
the purpose of Aying her country with be ne adds, e the time I did Lysander see, ed Athens like a Paradise to me. en, what graces in my love do dwell,
he hach turned a heaven into hell ? Helena, afterwards, carries on the same ich fancom ollowing lines : : es base and vile, holding no quantity, can transpose to form and dignity. Cooks not with the eyes, but with che mind; herefore is winged Capid painted blind; arh love's mind of any judgment taste : s, and no eyes, figure unheedy haste,
speech, herefore is love laid to be a child, de in choice he is fo oft beguiled.
Tefens. She the Fifth A&t of this Play, accords with a utiinent :
the lover all as frantic Celen's beauty in a brow of Egypt.
of A& the Second; the whole of which I Thall
Oberon 10 Puck.
ACT V. SCENE 1.
is too, in a passage of his speech, in the #
was with a
Have such feething brains,
More than cool reason ever comprehends.
That if it would but apprehend tome joy,
mong the brief of Sports, as it is called, to be bited before Theseus, on his weddingday, this
is the title of one :
hakespeare has hinted a moral, on this laste
a metamorphosis as any in Ovid," in is the f the following speech, in the second Scez
his is meant as a compliment to Queen Elizabeth.
. I'. "The thrice three Muses mourning for the death ' ; ; Of: Learningą, late decen jed in beggary'. .
The case of such unfortunaie persons, ..
“ Hath blasted with poetic fire * is certainly very hard. Persons who apply their minds to letters, must unavoidably neglect their temporal concerns; and those who employ their time in the reformation or entertainment of the world, should be supported by it-Not by merely accidental and precarious emoluments, but upon fome more permanent foundation; like the Clergy, who have had a provision made for them, for the fame reafon as above; and the name of Clerk, tho' now appropriated to the latter, was formerly the cominon appellation of both. The honour of such an establishinent would be considerable to a State, blonde
and the expence but finall for the numbers are but · few..... ... . . ! . .
Theseus expresses a just sentiment in a prince, when Philostrace, the Master of his Revels, objects to his being present at a play, which the affections of the lowest rank of the Athenian citizens had framed for the celebration of his nuptials. . .99 Philoftrate. No, my noble Lord,
It is not for you. I have heard it over, . .
And it is nothing; nothing in the world ; - Unless yon can find sport in their intents,
Extremely ltretched, and conncd with cruel păin, *** 1. To do you fervice. . 07!
Euses mourning for the death , e decko jed in beggary. nagineg this paffage to have allohers, itiled The Tears of the # Contempt of Learning, in his to - not properly a complaint of c: s been so much the grievance oi „ long since, obtained into a prow
uch unfortunaie persons, om Phæbus, in his ire,
with poetic fire, y hard. Persons who apply rs, must unavoidably neglect is erns; and those who employ . tformation or entertainment of be supported by it-Noc by me
precarious emoluments, bure manent foundation; like the Cle:
Tbifcus. I will hear that play:
For never any thing can be amiss,
I love not to see wretchedness o’ercharged,
And duty in bis service perishing.
Our sport ball be, to take what they mistake;
a provision made for them, for, above; and the name of Clerk, r. ed to the latter, was formerly *, ation of both. The honour of it. [ would be considerable to a S. e but small---fçr the numbers ar? :
I must here conclude my observations on this Play, with the above beautiful passage, as there does not appear to me to be any thing else, in the remainder of it, worthy to supply a reflection relative to the purposed scope or design of this work.
pos т я с R I PT,
refies a just sentiment in a pora, , the Master of his Revels, corfent at a play, which the affections of the Athenian citizens had srama. n of his nuptials. noble Lord,
I have heurd it over, ; nothing in the world;" id fport in their intents, ed, and conned with cruel pit,
This Play is perfectly picturesque, and resembles Some rich landscape, where palaces and cottages, huntsmen and husbandmen, princes and peasants, appear in the same scene together,